Hyun-Sook Song6 Brushstrokes2022tempera on canvas90 x 100 cm
Hyun-Sook Song16 Brushstrokes2022tempera on canvas150 x 200 cm
Hyun-Sook Song10 Brushstrokes2022tempera on canvas150 x 103,2 cm
Hyun-Sook Song7 Brushstrokes2021tempera on canvas80,5 x 85 cm
Hyun-Sook Song23 Brushstrokes2020tempera on canvas160 x 100 cm
Hyun-Sook Song11 Brushstrokes2019tempera on canvas60,5 x 75 cm
Hyun-Sook Song9 Brushstrokes2019tempera on canvas160 x 140 cm
Hyun-Sook SongBrushstrokes - Diagram2018tempera on canvas130 x 160 cm
Hyun-Sook SongBrushstrokes - Diagram2019tempera on canvas130 x 120 cm
Hyun-Sook SongBrushstrokes - Diagram2019tempera on canvas150 x 115 cm
Hyun-Sook SongBrushstrokes - Diagram2019tempera on canvas190 x 140 cm
Hyun-Sook SongUntitled2019tempera on paper20,5 x 24 cm
Hyun-Sook Song12 Brushstrokes over 1 Brushstroke2019tempera on canvas110 x 150 cm
Hyun-Sook SongBrushstrokes - Diagram2019tempera on canvas170 x 100 cm
Hyun-Sook SongBrushstrokes - Diagram2019tempera on canvas147 x 90 cm
Hyun-Sook Song16 Brushstrokes2019tempera on canvas
Hyun-Sook SongBrushstrokes - Diagram2018tempera on canvas140 x 160 cm
Hyun-Sook Song8 Brushstrokes2018tempera on canvas170 x 240 cm
Hyun-Sook Song14 Brushstrokes2018tempera on canvas130 x 190 cm
Hyun-Sook Song7 Brushstrokes2018tempera on canvas120 x 100 cm
Hyun-Sook SongUntitled2018tempera on paper35 x 45 cm
Hyun-Sook Song3 Brushstrokes2017tempera on canvas160 x 240 cm
Hyun-Sook Song7 Brushstrokes2017tempera on canvas170 x 120 cm
Hyun-Sook Song9 Brushstrokes2017tempera on canvas130 x 70 cm
Hyun-Sook SongBrushstrokes - Diagram2017tempera on canvas170 x 120 cm
Hyun-Sook Song5 Brushstrokes over 1 Brushstroke2016tempera on canvas110 x 76 cm
Hyun-Sook Song7 Brushstrokes2016tempera on canvas150 x 170 cm
Hyun-Sook Song6 Brushstrokes2015tempera on canvas40 x 33 cm
Hyun-Sook SongUntitled2014 - 2018tempera on paper22,5 x 27,4 cm
Hyun-Sook SongDiptychon III (7 Brushstrokes - 15 Brushstrokes)2014tempera on canvas130 x 245 cm
Hyun-Sook Song5 Brushstrokes2013tempera on canvas130 x 160 cm
Hyun-Sook Song9 Brushstrokes2013tempera on canvas130 x 126 cm
Hyun-Sook SongSelfportrait2013tempera on paper36 x 29,7 cm
Hyun-Sook Song12 Brushstrokes #I2013tempera on canvas200 x 170 cm
Hyun-Sook Song2 Brushstrokes2013tempera on canvas150 x 240 cm
Hyun-Sook Song10 Brushstrokes over Figure2012tempera on canvas170 x 145 cm
Hyun-Sook SongUntitled2011tempera on paper29,3 x 20,3 cm
Hyun-Sook Song8 Brushstrokes2010tempera on canvas130 x 170 cm
Hyun-Sook Song6 Brushstrokes II2008tempera on canvas54 x 50 cm
Hyun-Sook Song6 Brushstrokes2007tempera on canvas158 x 108 cm
Hyun-Sook Song6 Brushstrokes2007tempera on canvas160 x 240 cm
Zeno X Gallery Antwerp Borgerhout
November 15 - December 23, 2023
Opening: Saturday November 11, 4-7 PM
WHERE AT HOME - PAINT OR DIE
Published by Zeno X Books, Hannibal & Koenig Books, 2021
In his biography, Jochen Hiltmann draws a multifaceted picture of Hyun-Sook Song's path and her engagement with European modernity and contemporary art.
Published by Zeno X Books, Hannibal & Koenig Books, 2020
Essay by Carsten Probst
Hyun-Sook Song, b. 1952 in Damyang (KR), lives and works in Hamburg (DE).
Hyun-Sook Song grew up in a mountain village in The Republic of Korea before travelling to West Germany in the early 1970s, where she began to draw and paint. Ever since, she has created a body of work with only a handful of motifs, reminiscent of her beloved motherland: clay pots, silk ribbons draped around sticks, and woven textiles.
Song developed a very distinctive style and technique that blends elements from West and East. She uses tempera, a type of paint made by mixing pigments with egg yolk. This technique was widely used in Western painting in the Middle Ages, notably because of the paint’s opaque character. Song, by contrast, uses tempera in a way that is almost transparent. Her brushstrokes are economical but accurate; each stroke represents a single movement and there is no room for doubt. The titles of her paintings usually refer to the number of brushstrokes she needed to finish the work.
Her artistic output has been heavily influenced by Eastern philosophy and calligraphy but also by her love of nature, the body and materials. Although her formal language may be limited, the variations appear endless. The works can be approached from both an abstract-meditative perspective and a figurative-symbolic viewpoint.
Hyun-Sook Song’s work is included in the collections of Kunstmuseum Bern, Kunstmuseum Bonn, Hamburger Kunsthalle, Kunstpalast (Düsseldorf), Leeum-Samsung Museum of Modern Art (Seoul), Mori Art Museum (Tokyo), Fukuoka Asian Art Museum, Seoul Museum of Art, Gwangju Art Museum and Gyeonggi Museum of Art (Ansan).
Her work has featured in group shows at The Drawing Center (New York), Berkeley Art Museum & Pacific Film Archive, Deichtorhallen (Hamburg), National Museum of Modern and Contemporary Art (Seoul), Museum of Contemporary Art (Shanghai), Mori Art Museum (Tokyo), California College of Arts (San Francisco) and Kunstpalast (Düsseldorf).
Hyun-Sook Song joined the gallery in 2018.
The single brushstroke as a horizon between heaven and earth is the second solo exhibition by Hyun-Sook Song at Zeno X Gallery.
Hyun-Sook Song was born in 1952 and grew up in a mountain village in Korea. In 1972 she travelled to West Germany and soon after that she began to draw and to paint. In doing so she often gave voice to her nostalgic memories of her beloved motherland. Over several decades she created paintings with only a handful of motifs or themes: clay pots, silk ribbons draped around posts, or woven textiles hung on a thread.
Song developed both a very distinctive style and a technique that blends elements from the West and the East. She chose to use tempera, a type of paint made by mixing pigments with egg yolk. This technique was widely used in Western painting in the Middle Ages, notably because of the paint’s opaque character. Song, by contrast, uses tempera in a way that is almost transparent: the brushstrokes are economical but accurate. Each brushstroke represents a single movement and there is no room for doubt.
Her artistic outlook has been heavily influenced by Eastern philosophy and calligraphy but also by her love of nature, the body and her materials. She sees painting as a performative happening. She places the stretched canvas on the floor of her studio and balances above the painting on a simple wooden plank that is placed above it. In doing so she is in a state of utter concentration and meditation. The intensity of the painting enables her to work for only a few hours per day. This does not prevent her from going to the studio every day to maintain her dexterity.
Although her formal language may be limited, the variations appear endless. The works can be approached from both an abstract-meditative perspective and a figurative-symbolic viewpoint. The ‘wooden poles’ refer to a simple form of shelter, while the fabrics often suggest the age-old tradition of ramie weaving in the region of her birth. The paint that thins out as the line progresses symbolizes the finiteness of life and the dying out of hope.
East Asian painters perceive the landscape very differently from Western artists. In the West, we are generally in the habit of seeing figurative painting as a window on the world and in a linear perspective, while artists in the East still see themselves as an integral part of this landscape. In the West, distinct brushstrokes are generally rendered invisible, while to East Asians the brushstroke is precisely the crucial and central element. A brushstroke is the ultimate proof of the painter’s inner peace (or turmoil) and is always expressive. In addition, the brushstroke is always unique because the relation with the surface, the scale and the light is always different. Further proof of the importance of the brushstroke in Song’s oeuvre is the fact that her titles are based on the number of movements that she needed to complete the work. Hyun-Sook Song’s works can be compared to haiku: short and simple but very powerful in terms of content.
Hyun-Sook Song studied at the University of Fine Arts of Hamburg between 1976 and 1981. In 1984 she returned to her homeland for a year to study Korean art history at Chonnam National University in Gwangju.
Her work has been shown at the Hamburger Kunsthalle, the National Museum of Contemporary Art in Seoul, the Gwangju Museum of Art, the Poznan Biennal, the Leeum Samsung Museum of Art in Seoul, the Mori Art Museum in Tokyo, the Asian Art Museum in San Francisco, the Berkeley Art Museum in San Francisco, the Deichtorhallen in Hamburg and at many more locations.
Although her formal language may be limited, the variations appear endless. The works can be approached from both an abstract-meditative perspective and a figurative-symbolic viewpoint. The ‘wooden poles’ refer to a simple form of shelter, while the fabrics often suggest the age-old tradition of ramie weaving in the region of her birth. The large diptych Brushstrokes - Diagram #II is a tribute to the Korean school children who died in a major shipping disaster in 2014. The paint that thins out as the line progresses symbolizes the finiteness of life and the dying out of hope.
East Asian painters perceive the landscape very differently from Western artists. In the West, we are generally in the habit of seeing figurative painting as a window on the world and in a linear perspective, while artists in the East still see themselves as an integral part of this landscape. In the West, distinct brushstrokes are generally rendered invisible, while to East Asians the brushstroke is precisely the crucial and central element. A brushstroke is the ultimate proof of the painter’s inner peace (or turmoil) and is always expressive. In addition, the brushstroke is always unique because the relation with the surface, the scale and the light is always different. Further proof of the importance of the brushstroke in Song’s oeuvre is the fact that her titles are based on the number of movements that she needed to complete the work.
Hyun-Sook Song’s works can be compared to haiku: short and simple but very powerful in terms of content.
Hyun-Sook Song studied at the University of Fine Arts of Hamburg between 1976 and 1981. In 1984 she returned to her homeland for a year to study Korean art history at Chonnam National University in Gwangju. Hyun-Sook Song is also active as a documentary maker. Her work has been shown at the Hamburger Kunsthalle, the National Museum of Contemporary Art in Seoul, the Gwangju Museum of Art, the Poznan Biennale, the Leeum Samsung Museum of Art in Seoul, the Mori Art Museum in Tokyo, the Asian Art Museum in San Francisco, the Berkeley Art Museum in San Francisco, the Deichtorhallen in Hamburg and at many more locations.
Hyun-Sook Song’s work is included in the collections of the following institutions: Kunstmuseum Bern, Kunstmuseum Bonn, Hamburger Kunsthalle, Kunstmuseum Düsseldorf, Leeum-Samsung Museum of Modern Art, Mori Art Museum in Tokyo, Fukuoka Asian Art Museum, Seoul Museum of Art, Gwangju Art Museum and Gyeonggido Museum of Art.
At this moment, we leave the frame of the gallery program and go off road to present work by eight artists that are invited for the first time. The selection of these artists was not made to fit any particular concept. Along the way, we travelled around the world to meet the artists who sparked our interest, in their studios. Although we met many artists, at a certain point we noticed that some artists shared a mutual interest in topics dealing with language, space, abstraction and the body. The show ‘Architecture of Life’, curated by Lawrence Rinder at the Berkeley Art Museum in San Francisco provided a clearer direction to our focus. The title of this exhibition encompasses the idea of the architecture of the body, mind, spirit and society but also the architecture of matter, energy and form.
Every artist has a unique way of communicating his or her thoughts and feelings. Although much can be said in words, they often feel more comfortable expressing themselves through painting, sculpture, drawing, installations and videos. This results in a personal vocabulary and a visual alphabet. The traditional categorization based on a utilized medium is becoming increasingly more polysemous. Many artists today are crossing boundaries and adopt a hybrid practice and identity.
We would like to thank all the artists for their generosity and enthusiasm, as well as for participating and making available a selection of beautiful works for the show.
Following is an introduction to each participating artist:
b. 1977, Jerusalem – lives and works in New York
Uri Aran’s work combines drawing, sculpture, collage, text, printing and video. With and through these various elements, he constructs a fluid system of motifs and signifiers. In his work, he examines intersecting themes of genre, gesture and artifice – both as they occur in art and in everyday reality.
In his sculptural works, Aran creates intricate and layered arrangements of symbols, objects and associations – an elaborate language or iconography that resists straightforward decipherment. He himself refers to his assemblages as “a storyboard that might have been taken apart and reorganized in different pieces”. Aran frequently utilizes everyday materials – each of his objects becoming a sculptural readymade – so as to disassociate them from their typical contexts. His disparate items seem to invite radical new functions or possibilities: denuded of a surrounding narrative or context, they enter into a state of free associative play.
Aran describes his works as being based on a kind of “flat logic” (belying their seeming arbitrariness), comparable to how a configuration of objects on a tabletop can be used to indicate routes and landmarks as an improvised means of giving directions. His wall pieces frequently bring together processes of drawing, painting and sculpture: assembled shapes and textures massed together into a synchronic ‘landscape’. Incorporating various media and alternating between printed and drawn markings, or gestural and graphic icons, these works mirror the chains of signifiers and syntactical ‘parcels’ that constitute language. And yet, as in his sculptural work, hierarchies of meaning are being radically destabilized or flattened. We come to project personal associations or emotions onto their free-floating elements; as the critic and curator Fionn Meade has observed: “Aran constructs a shape-shifting language with the most meager means, collecting an uneasy inventory of pathos, absence, and laughter.”
“The discord of meaning in language is something I’m interested in”, the artist explains. “I don’t know if it’s because English is not my mother tongue; I see a delay of meaning. I see things as mediated—almost everything is quoted.” In contrast to the order, regularity and declarative meaning of a letter, his works confront us with inchoate landscapes – visual and verbal, immediate and mediated: “The interest for me is not in creating confusion. I am managing rather than “taming” the stutters, ticks and stammers that jolt along through the processes of thought and emotional response. I am making them visible.”
Uri Aran graduated from Columbia University in 2007, and has since exhibited internationally in many major solo presentations at Kölnischer Kunstverein in Cologne (2016) Peep-Hole in Milan (2014), South London Gallery in London (2013), Kunsthalle Zürich. He has been included in group exhibitions at the Tel Aviv Museum of Art, the Liverpool Biennial 2014, the 2014 Whitney Biennial, Whitney Museum of American Art in New York, the 55th Venice Biennale Venice, Palazzo delle Esposizioni in Rome. From November 2015 until May 2017, his work will feature in Question the Wall Itself at the Walker Art Center.
b. 1982, Brazil – lives and works in São Paulo
For a long time, the contemporary art field has remained rather skeptical about the integration of textile-based works because of the medium’s strong association with decorative arts. The young Brazilian artist, Paloma Bosquê succeeds in transforming the practice of weaving into a sculptural and spatial expression. The wool gently moves through her fingers and she sometimes uses her whole body to manipulate the soft and translucent structures. With patience and respect for nature, the craft and the organic materials she uses, , she searches for the right scale and size for each work. Her personal involvement and touch is crucial in this process.
Her practice has to be understood in the aftermath of Brazilian Neo-Concrete movements as well as post-minimalist strategies but also shows affinities with the vernacular and local traditions.
Many dualities hold her works together. She has a desire to compose clean and straight forms by using soft, organic, handmade fabrics that are not fixed on or around a frame. She prefers to leave space open. A gently displacement of air can already move the fabric, as if it could dance. This occurrence causes confusion in the viewer as the static looking sculptures seem to come alive. Everything is chosen with great care, including the bar or frame that supports her work. Her main materials are wool, brass rods, bronze, lead and beeswax. Contrary to our expectations, the shiny gold-like color of the supporting structure is actually less valuable than the pigmented beeswax with its modest appearance. She combines organic and inorganic materials that touch each other in a subtle way. Her delicate and sensual works incorporate the space and light of their environment. In a work like Lapse #4, she manages to connect wall and floor. Gravity and balance are key elements in the presentation and make up of her compositions.
Paloma Bosquê has presented work at the Jewish Museum in New York, the Museum of Contemporary Art in Detroit and the Biennial of Mercosul in Porto Alegre.
b. 1980, United States – lives and works in New York and New Mexico
The work of N. Dash emphasizes the primacy of touch, revealing the body’s generative capacity through corporeal contact and haptic engagement to open up forms of communication outside the parameters of language. This is principally expressed in sculptures or “primary source material”-pieces of factory-made fabric that are touched until degraded. They function as an idiosyncratic recording device where information passed from the hands is indexed onto the tabula rasa of cloth. The final vestiges are photographed in order to arrest different iterations of the fabric and to sanitize its abject remains. The artist began making these works roughly 33 years ago—it spans a kind of human geologic time, from the preverbal to the present. Each sculpture is interrelated, networked, and unfolds into the next. Dash began photographing these works in 2002. More recently, photos have been selected from the growing archive to make silkscreens on adobe substrates, utilizing an enlarged scale while embedding the image into a material that connects them directly to their visceral origins and to Dash’s body of work as a whole.
The two paintings in this exhibition use adobe as a ground. Adobe—which is dirt—is excavated from the desert and shipped to the studio in New York where it is rendered to make a mud plaster, at which time the earth shifts from the horizontal plane to the wall. The paintings are further constructed in multiple components, clad in canvas and deposits of pigment. They are built in three units each, standing apart, next to and over one another to create a whole.
N. Dash’s work was the subject of a solo show at the LA Hammer Museum in Los Angeles in 2014-2015 and at White Flag Projects in St. Louis in 2013. She has participated in group shows at the Jewish Museum in New York, Palazzo Strozzi in Florence, Berkeley Art Museum in San Francisco and more. This year she will have a solo show at Fondazione Giuliani in Rome and will be part of group shows at the American University Museum in Washington D.C. and Birmingham Museum of Art in Birmingham.
(b.1977, Great-Britain – lives and works in London)
Michael Dean always chooses his words carefully when he speaks in order to articulate his thoughts. Through his voice and his tongue, the words come out of his body in a rhythmic way and the sound of the words resonate in the space. As an artist, he is even more interested in the visual aspect of language and typography and the process of transforming these into physical and fleshy entities, since language in itself has no actual physicality. His writings deal with linguistic aspects such as the sequence of similar written or spoken words. His own sculpting process, as well as his feelings and perceptions of the surroundings when he takes walks can similarly become subjects in his works. He touches universal themes such as life and socio-politic developments but also very intimate ones such as the family unit or the act of speaking and kissing. Words in his alphabet are tongue, bones, fist and shore amongst many others.
There is no desire to please the viewer, but rather to move them or to stimulate reflection. Although as a visitor one could sometimes hide one’s own body behind one of the sculptures, it is impossible to ignore these fleshy structures and the effect they have on one’s own language and body. Looking at them can provoke all kinds of associations: from protection to support to fence, tool or human being.
At a very young age, Michael Dean discovered the possibilities of working with concrete. At that time he mainly chose for this material because it was accessible and easy to work with and source. Working with it for many years, it became for him a fundamental and archetypical material. He casts, folds, bends, wraps it in plastic foil, hits it with a hammer and even embraces the material while shaping it. The interaction between his hands, his body and the concrete is direct, personal, free and fast. Through the process, an abstract shape is constructed and time transforms softness in a hard, static and solid volume. The outcomes are independent units that engage in a dialogue with the surrounding space or a relation with each other. Often the dimensions of his own body or the bodies of his family members inspire the scale of his works. By mixing pigment into the wet concrete mass or by soaking the books he creates in a colorful liquid or infusing them with physical action, he changes the grey and industrial connotation of concrete. He invites the viewer to come closer.
Michael Dean was nominated for the Turner Prize 2016 and has recently had solo shows at the Nasher Sculpture Museum in Dallas (2016), the South London Gallery in London (2016), the Fondazione Giuliani in Rome (2016), De Appel in Amsterdam (2015), Extra City Kunsthal in Antwerp (2015) and more. In 2017, he will present a solo show at Portikus in Frankfurt and take part in Skulptur Projekte Münster.
ANNA MARIA MAIOLINO
b. 1942, Italy - lives and works in São Paulo
At the age of twelve Anna Maria Maiolino leaves Calabria for Venezuela, where she will stay until she is 18. She moves to Rio de Janeiro in Brazil, has lived in New York for a while and has never stopped travelling. Her whole life, she has felt like an immigrant. Every time she arrives in a new cultural and socio-political environment, she has to rethink her modes of communication and how to deal with the new language. It is not a natural adaptation since she harbors nostalgic feelings for the places she left and the times that have past. The only thing she can hold on to is her self, her identity and the material through which she can express her thoughts and emotions. Her chosen forms of communication include drawing, sculpture, installation, printmaking, poetry, film and performance.
In the meantime, her oeuvre spans five decades and has been contextualized in relation to the New Figuration Movement and Neo-Concretism in Brazil, but also with New Brazilian Objectivity, Italian Minimalism and American Conceptual Art.
She creates everything herself and defines her work in the studio as labor. Her production has a rhythm and lifecycle that is closely linked to one of the materials she uses, namely clay. It evolves from a wet substance that dries, becomes fixed in the shape it is given, starts to crumble and eventually returns to dust. Other materials that appear are cement, plaster, metal, bronze, raku ceramic and acrylic ink. In the beginning, her work tended more towards figuration but this is soon abandoned in favor of more abstract forms, which create more freedom for both the artist and the viewer. Everything in her work is derived from the material. In conversations, she clearly points out the difference between being a specialist and a master in a medium. She is interested in repeating forms and working in series but each unit remains unique through the touch of the artist. Form, matter, scale, texture and composition are fundamental aspects that are given her full attention. She makes little use of color in order not to distract the viewer from the essential aspects of her practice.
In the early nineties, she was invited for group shows in Belgium at the Royal Museum of Fine Arts in Antwerp and at the Kanaal Art Foundation in Kortrijk. In 2013 she was invited for a presentation at La Verrière Hermès in Brussels. Later her work was part of group shows at Tate Modern in London, the Walker Art Center in Minneapolis, MoMA in New York and more. In 2012, she took part in dOCUMENTA (13) in Kassel and in 2010 her work was on view at the Sao Paulo Biennial.
Solo shows were organized by the Berkeley Art Museum in San Francisco (2014), the Malmö Kunsthalle (2011), the Centro Galego de Arte Contemporaena in Santiago de Compostella (2011), the Foundation Antoni Tapiès in Barcelona (2010), the Camden Arts Center in London (2010) and the Pinacoteca do Estado de Sao Paulo (2005), amongst many others.
In 2017 a retrospective is to open at the Museum of Contemporary Art in Los Angeles. The artist will also take part in group shows at the Eli and Edythe Broad Art Museum, MAR Museu de Arte do Rio in Rio De Janeiro and the LA Hammer Museum in Los Angeles. In 2018 she will be part of a group show at the Brooklyn Museum in Brooklyn.
b. 1977, Belgium - lives and works in Antwerp
In his practice, the artist Philip Metten freely moves between the respective media and regimes of sculpture and architecture, purposefully suspending the disciplinary differences. In his work he brings together sculpture, drawing, interior and building design with kaleidoscopic intensity. The semantic regimes of art and architecture provide the frames of reference, but the results of his sculptural exploration of architecture, or the architectural exploration of sculpture for that matter, resist simple classification.
A daily drawing practice serves as the systemic foundation of Philip Metten’s work. It engenders the basic schemes for his sculptures, prints, and wall reliefs, as well as for larger architectural projects, such as his solo show at Z33 art space in Hasselt (Innercoma, 2010), the much-praised renovation of a bar in Antwerp (Bar, 2013), the scenography for a group show in Extra City Kunsthal, Antwerp (The Corner Show, 2015), as well as for the facade of the Kai Matsumyia gallery in New York (153. Stanton, 2015).
Most recently in Netwerk Aalst (2016), the artist showed a preliminary stage of ESSEN, an interior design for a restaurant in Borgerhout that is currently being built and will open its doors later this year. ESSEN sees Metten returning to a drawing made in 2008, which he implements both sculpturally and architecturally while using the specific space of the prospective restaurant as his point of departure.
For the exhibition at Zeno X Gallery, Metten once again turned to producing wall reliefs, each of which are again derived from elaborate collages and drawings. Painted in silver, these geometrically sculpted works recall ancient emblems as well as futuristic insignia, revealing the artist’s predilection for a visual language that espouses future with prehistory. Drawing upon references from ancient sculpture, modernist and postmodernist architecture, to sci-fi film and experimental cinema, Metten presents us with sculptures that can be read as either masks or architectural models, heraldic signs or urban topography.
b. 1961, Brazil - lives and works in Belo Horizonte
Much of the Brazilian cultural tradition that encompasses music, literature and art, largely emerged from the lands of Minas Gerais. The work by Solange Pessoa is embedded in this context. She lives in Belo Horizonte, one of the larger cities in Brazil.
Since the late eighties, Solange Pessoa developed an artistic career with a core focus on sculpture, but she also works in other media such as installation, ceramic, painting and video. Since 1993, she teaches sculpture at the Guinard School of Art at Minas Gerais State University. Her practice is informed by the Brazilian Baroque as well as other influences from international art history and developments in the contemporary art scene such as Land Art. Spiral Jetty by Robert Smithson moves her strongly.
Her oeuvre is rooted in, and inspired by, the richness and heritage of ancient cultures. With a minimum of technology and without using complex representation techniques, these cultures were able to communicate and express how they envisioned the world and their lives. In a similar way, Solange Pessoa looks at her environment and translates her experiences and emotions in organic forms and compositions. She only focuses on that which is fundamental and essential.
The soapstones are hollow, carved volumes that envelop only air and emptiness. Through an intensive and physically demanding process, the artist brings her whole body into action and repeats destructive movements to create space and form. The texture of the surface is a succession of traces of these actions. Sometimes she creates a spiral on the inside, following the outline of the form as if to reveal a drawing or otherwise inviting the viewer to enter this intimate space. The curved lines in her oeuvre refer to the female body and the lifecycle of nature.
Her sculptures could be containers or relicts of rituals. Actually, they could be many things. The earth is her main resource. It gives her stones, earth to make clay, pigment to paint, copper and tin to produce bronzes and vegetation that embraces her sculptures or fills them such as in the corner piece ‘Untitled’, from 1999. Some of the works only exist a lifetime, others long for eternity. She searches for relations between living and dead materials, between the solid and the fragile, but also explores how her work becomes part of landscapes and architecture. Burle Marx designed a beautiful garden for the Art Museum of Pampulha in Belo Horizonte where some of her sculptures are permanently installed on a hillside nearby the water.
Pessoa has been invited for several solo shows in museums in Brazil but also took part in a number of international group shows, including at the Rubell Family Collection in Miami (2016), CAPS Musée d’Art Contemporain in Bordeaux (2001) and many more.
b. 1952, Korea - lives and works in Hamburg
The roots of Hyun-Sook Song originate in a rural mountain village in South Korea. In her early twenties, she arrives in West-Germany through a scholarship and only returns home occasionally. From 1976 to 1981 she studied at the College of Fine Art in Hamburg. A few years later in the period 1984-1985, Hyun-Sook Song returned to her homeland to focus on Korean Art history at Chonnam National University in Gwangju.
Her attitude is strongly influenced by eastern philosophy and a respect for life, nature, the body and materials. Painting, for her, is a performative action. She positions the framed canvas onto the floor and balances over the painting on a simple wooden plank that is placed over the length of the work. She is conscious about how many brushstrokes she applies to create an image. Often this information is revealed in her titles. Especially when she paints the white stroke, typical of her work, she finds herself in a state between concentration and meditation. This intensity only allows her to paint a few hours a day, yet she needs to practice every day to train her hand. She carefully prepares everything beforehand to have peace and silence in her mind and body. Her vocabulary is limited but variations seem infinite. Every brush stroke is unique and creates another image because the relation with the surface, the scale and the light is different.
The paintings by Hyun-Sook Song have a cinematographic quality; it appears as if the artist has frozen a moving image. She choses a specific moment on the basis of its beauty and sense of harmony. Like a camera, the artist zooms in on her subject to reveal details about the structure and transparency of the material. The wooden sticks and textiles are suggestive and hover between abstraction and figuration. All the images are derived from her memory and imagination. She remembers the eco-friendly and humble lifestyle of her family. As a child, she was fascinated by how her mother spun thread from raw cotton and wove cloth on the loom. With her paintings she revisits the past and honors her background while being so far from home. A white cloth on a wooden stick reveals a trace of human passage. It can be a sign of hope, surrender or grief.
Aside from painting, Hyun-Sook Song has also been working as a documentary filmmaker. Her work has been on view at the Hamburger Kunsthalle (1982), the National Museum of Contemporary Art in Seoul (2014), the Gwangju Museum of Art (2013), the Poznan Biennial in 2008, the Leeum Samsung Museum of Art in Seoul (2007), the Mori Art Museum in Tokyo (2005), the Asian Art Museum in San Francisco (2003), the Berkeley Art Museum in San Francisco, the Deichtorhallen in Hamburg (1991) and many more.
Paulo MonteiroUntitled2018oil on canvas80,3 x 60,1 cm
Paulo MonteiroUntitled2022oil on linen20 x 16 cm
Paulo MonteiroUntitled2018oil on wood3,8 x 9 x 3,8 cm
Paulo MonteiroUntitled2018oil on wood2,4 x 9 x 2 cm
Paulo MonteiroUntitled2022oil on bronze (edition of 2)25 x 4 x 7 cm
Paulo MonteiroUntitled2022oil on linen60 x 45,5 cm
Paulo MonteiroUntitled2018oil on wood1,2 x 5,7 x 2 cm
Paulo MonteiroUntitled2022oil on bronze (edition of 2)25 x 3 x 4 cm
Paulo MonteiroUntitled2022oil on linen55 x 50 cm
Paulo MonteiroUntitled2022oil on linen23 x 19 cm
Paulo MonteiroUntitled2017oil on bronze
Jan De MaesschalckUntitled (The Staged-Fall)2012acrylic on paper40 x 27 cm
Jan De MaesschalckFilm2015acrylic on paper39 x 54,8 cm
Jan De MaesschalckUntitled (Heatwave)2018acrylic on paper73 x 58,3 cm
Jan De MaesschalckUntitled2009acrylic on paper27,5 x 36,5 cm
Jan De MaesschalckUntitled2011acrylic on paper27,5 x 36,5 cm
Bart StolleDrawing Pattern2021acrylic on canvas76 x 76,7 cm
Bart StolleReconstructing the Original Formula (2)2012 - 2013acrylic on canvas59,4 x 67 cm
Bart StolleTimelines with Black Ball2021acrylic on canvas24 x 30,4 cm
Bart StolleOrgan2020acrylic on canvas47,8 x 39 cm
Bart StolleUntitled (colour check)2019acrylic and paper on canvas40 x 50 cm
Bart StolleLFMS2018.102018pencil and ink on paper21 x 13,2 cm
Bart StolleLFMS2017.062017pencil and ink on paper21 x 13,2 cm
Bart StolleLFMS2018.152018pencil and ink on paper21 x 13,2 cm
Bart StolleThe Measure and the Measured2015acrylic on canvas, cotton string120 x 120 cm
Hyun-Sook SongUntitled2015tempera on paper35 x 26 cm
Hyun-Sook SongUntitled2015tempera on paper26 x 34,5 cm
Martin MargielaBodypart b&w2018 - 2020oil pastel on projection screen123 x 222 x 8 cm
N. DashUntitled2022earth, acrylic, canvas, fabric, silkscreen ink, jute151,13 x 78,74 cm59,5 x 31 in
Pietro RoccasalvaStudy for Giocondità2022oil on canvas48 x 64 cm
Kim JonesUntitled2001 - 2007acrylic and ink on photograph45,7 x 30,5 cm
Jenny ScobelAmanda (II)2011pencil, watercolour and wax on gessoed wood81,3 x 61 cm
Pélagie GbaguidiCare2020dry pastel and wool on paper21 x 29 cm
Pélagie GbaguidiCare2020dry pastel on paper29 x 21 cm
Mircea SuciuStudy for "Empathy for Destruction"2022oil, acrylic, liquin, charcoal and varnish on linen70 x 50 cm
Marina RheingantzSexy X2022oil on canvas130 x 110 cm
Jockum NordströmCat Dog Cat2016collage, watercolour and graphite on paper40 x 50 cm
Jan De MaesschalckImpersonation (based on a photo by Johan Jacobs)2022oil on canvas65,2 x 55,2 cm
Yun-Fei JiThe Dead Are also Moving2007mineral pigments and ink on rice paper89,5 x 97 cm
Grace SchwindtGuard2022ceramic and bronze (edition of 3 + 1 AP)53 x 9 x 9 cm
Kees GoudzwaardOn Display2022oil on canvas70 x 60 cm
Susan HartnettOct. 11 2011 #2, Blue-joint grass (Calamagrostis canadensis)2011charcoal on paper56,5 x 76 cm
Jack WhittenSilver Centerfold2015acrylic on panel3 x (30,5 x 30,5 cm)
Philip Metten2203222022oil and thread on canvas23,1 x 23,2 cm
Paulo MonteiroUntitled2016oil on bronze (edition of 3 + 1 AP)56 x 2 x 4 cm
Paulo MonteiroUntitled2018oil on bronze (edition of 3)16,6 x 10,5 x 4,8 cm
Paulo MonteiroUntitled2016bronze (edition of 2 + 1 AP)18,5 x 62 x 22,5 cm
Naoto KawaharaNaked Girl2022oil on canvas72,8 x 53,4 cm
Bart StolleUntitled (Heat upon Heat)2022acrylic on canvas40 x 40 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpInstallation view
Photo: Timo OhlerCourtesy of Sprüth Magers, BerlinInstallation view
N. DashCommuter (2)2019 - 2020acrylic, paper52,4 x 37,8 cm20,63 x 14,88 in
N. DashCommuter (1)2019 - 2020acrylic, paper39,4 x 51,6 cm15,51 x 20,31 in
Luc TuymansThe Owl2019acrylic ink on polyester tracing paper27 x (28,7 x 15,8 cm)
animated video: variable dimensions
Michaël BorremansThe Feast2019pencil and white ink on paper26,7 x 21,2 cm
Mark MandersUntitled1994pencil on paper29,6 x 21 cm
Mark MandersUntitled2000pencil on paper42 x 29,5 cm
Mark MandersDrawing with a Glass functioning as an O1999pencil on paper29,7 x 42 cm
Mark MandersUntitled2009pencil on paper21 x 29,7 cm
Mark MandersUntitled1994paint and pencil on paper32 x 25 cm
Mark MandersUntitled1995pencil on paper29,7 x 21 cm
Kees GoudzwaardTwo Connected Flag Fragments2015acrylic on cardboard29,6 x 21,1 cm
Anne-Mie Van KerckhovenZonder Commentaar2019collage on coloured paper3 x (32 x 24 cm)
Hyun-Sook SongUntitled2011tempera on paper30,8 x 20,5 cm
Hyun-Sook SongUntitled2018tempera on paper30,8 x 23,5 cm
N. DashUntitled2019acrylic, paper55,9 x 32,4 cm22,01 x 12,76 in
N. DashUntitled2019graphite, paper54,6 x 53,3 cm21,5 x 20,98 in
Marlene DumasSleeping Nymph2003acrylic and ink on paper62 x 85 cm
Kees GoudzwaardWorking Materials2019acrylic on cardboard50 x 40 cm
Kees GoudzwaardUntitled2019acrylic on paper65,1 x 49,9 cm
Anne-Mie Van KerckhovenZonder Woorden2019collage on coloured paper3 x (32 x 24 cm)
Anne-Mie Van KerckhovenZonder Uitleg2019collage on coloured paper3 x (32 x 24 cm)
Photo: Peter CoxCourtesy Zeno X Gallery, Antwerp
Hyun-Sook Song6 Brushstrokes2013tempera on canvas47 x 41 cm
Hyun-Sook Song4 Brushstrokes2018tempera on canvas54 x 46 cm
Hyun-Sook Song18 Brushstrokes2014tempera on canvas130 x 180 cm
Photo: Peter CoxCourtesy Zeno X Gallery - AntwerpInstallation view
Photo: JSP Art PhotographyCortesy Sean Kelly, New YorkInstallation view
Dirk BraeckmanP.T.-B.R.-17 #22017gelatin silver print mounted on aluminium support120 x 80 cm (unique)
Kim JonesUntitled2008acrylic and ink on board50,8 x 76,2 cm
Kim JonesUntitled2008acrylic and ink on board50 x 76 cm
Mark MandersFalling Dictionaries2018offset print and acrylic on paper, chicken wire, aluminium
Marlene DumasThe Politics of Recognition / Onze Vaders1991ink on pape
Michaël BorremansThree Degrees2017pencil and ink on paper14,1 x 21,1 cm
Philip MettenC-1022017collage on paper53,5 x 49,5 cm
Philip MettenC-1012017collage on paper57,5 x 46 cm
Philip MettenC-1082017collage on paper54 x 50,6 cm
Philip MettenC-0572016collage on paper9,4 x 9,3 cm
Philip MettenC-1052017collage on paper20,9 x 20,4 cm
Patrick Van CaeckenberghDen Beggaard2018mixed media52 x 110 cm
Pietro RoccasalvaStudy for Il Traviatore2017acrylic on paper69,8 x 43,1 cm
Pietro RoccasalvaStudy for Il Traviatore2010acrylic on paper69,5 x 47 cm
Paulo MonteiroUntitled201322k gold and gouache on paper25,5 x 18,5 cm
Paulo MonteiroUntitled201622k gold and gouache on paper14 x 9 cm
Paulo MonteiroUntitled201722k gold and ecoline on pape
Paulo MonteiroUntitled2016gouache on paper31 x 27,5 cm
Hyun-Sook SongUntitled2013tempera on paper25,4 x 34,7 cm
Hyun-Sook SongUntitled2017tempera on paper26 x 32,2 cm
Hyun-Sook SongUntitled2015tempera on paper20,5 x 28,4 cm
Hyun-Sook SongUntitled2012tempera on paper34 x 23,7 cm
Jack WhittenLooking For Bin Laden #8 (Second Set)2008toner on rice paper61 x 82,6 cm
Jack WhittenSpace Flower #42006acrylic, pastel, powdered Mylar on rice paper20,3 x 19,1 cm
Jack WhittenSpace Flower #22006acrylic, pastel, powdered Mylar on rice paper21 x 19,1 cm
Luc TuymansUntitled2017graphite on pape
Jockum NordströmBjörnen sover (the Bear is sleeping)2017collage, watercolour and pencil on paper97 x 71 cm
Jockum NordströmSjukhusparken (Hospital park)2017collage, watercolour and graphite on paper72 x 104 cm
Jockum NordströmSent by Hand2008graphite on paper45 x 60 cm
Jockum NordströmStage Whisper2008graphite on paper42 x 30 cm
Photo: Peter CoxCourtesy Zeno X Gallery - Antwerp
Hyun-Sook Song5 Brushstrokes over 1 Brushstroke (left) and 8 brushstrokes (right) #II2012tempera on canvas135 x 180 cm
Hyun-Sook Song7 Brushstrokes2015tempera on canvas60 x 50 cm
Hyun-Sook Song7 Brushstrokes over Figure #II2009tempera on canvas130 x 170 cm
Hyun-Sook Song10 Brushstrokes over 1 Brushstroke and 1 Brushstroke2013tempera on canvas150 x 200 cm
Hyun-Sook Song11 Brushstrokes2009tempera on canvas170 x 250 cm
Hyun-Sook Song12 Brushstrokes #II2010tempera on canvas170 x 200 cm
Hyun-Sook SongBrushstrokes - Diagram #II (painted under the impression of the Sewol Ship tragedy in Korea on April 16th 2014)2016tempera on canvas(170 x 240 cm) + (170 x 120 cm)
Hyun-Sook Song6 Brushstrokes2013tempera on canvas85 x 63 cm
Hyun-Sook Song9 Brushstrokes over 1 Brushstroke2009tempera on canvas180 x 135 cm
Hyun-Sook Song7 Brushstrokes over 1 Brushstroke2016tempera on canvas150 x 200 cm
Solange PessoaUntitled1999bronze, leaves (3 of 7 + 1 AP)40 x 35 x 20 cm
Solange PessoaUntitled2016bronze, moss (1 of 5 + 1 AP)54 x 37 x 19 cm
Paloma BosquéPlumb #32016felted wool, dyed wax egg and brass rod239 x 4,5 x 11 cm
Anna Maria MaiolinoUntitled, from Outros series2000 - 2008molded cement with pigment on metal table85,2 x 47,5 x 44,2 cm
Anna Maria MaiolinoUntitled, from Cobrinhas (Little Snakes) series1993 - 2013molded plaster, acrylic resin varnish41,9 x 142,9 x 8,9 cm
Anna Maria MaiolinoSou um em Oito (I am One in Eight)2012Raku ceramic, cement, acrylic resin varnish on metal table with electrostatic paint (5 of 8)113 x 40 x 72 cm
Solange PessoaUntitled, from Fontes and Tanques series2016soapstone42 x 57 x 36 cm
Paloma BosquêLapse #42016sheep's wool and black thread345 x 35 cm
Paloma BosquêReverse #22016felted wool and brass rod36 x 27 cm
N. DashUntitled2017adobe, acrylic, graphite, linen, oil, string, jute208,2 x 167,6 cm81,97 x 65,98 in
N. DashUntitled2016earth, acrylic, graphite, linen, oil, string, jute213,4 x 127 cm84,02 x 50 in
Uri AranFront2016oil and bronze on HDO59,7 x 36,8 cm
Uri AranAround The World in Eighty Days2016oil, oil pastel, silkscreen, acrylic, graphite, charcoal and mixed media on MDO122 x 81 cm
Uri AranInteriors, Now2017oil pastel, acrylic, water-based ink, china marker, coloured pencil, charcoal, graphite, carbon paper, trim, plastic and mixed media on HDO66,7 x 76,8 cm
Uri AranPrivate Eye2017oil pastel, acrylic, wood stain, china marker, coloured pencil, charcoal, graphite and mixed media on HDO66,7 x 76,8 cm
Uri AranMidnight 4am2017oil pastel, acrylic, water-based ink, polyurethane, china marker, coloured pencil, charcoal, graphite, brass and mixed media on HDO66,7 x 76,8 cm
Uri AranImperative Mood2017misc bronze pieces and velcro (200 parts)variable dimensions
Philip MettenR0-12009 - 2016spray paint on MDF, aluminium support (2 of 3)59,8 x 59,8 x 4,5 cm
Philip MettenR0-22009 - 2016spray paint on MDF, aluminium support (2 of 3)59,8 x 59,8 x 6,8 cm
Philip MettenR0-32009 - 2016spray paint on MDF, aluminium support (2 of 3)59,9 x 59,9 x 3 cm
Philip MettenR0-52017spray paint on MDF, aluminium support (1 of 3)59 x 59 x 5,4 cm
Philip MettenC-0422015collage on paper35,8 x 29,8 cm
Philip MettenC-0182008collage on paper33,2 x 29,2 cm
C-0172008collage on paper25,4 x 18,2 cm
Philip MettenC-0542016collage on paper21,2 x 20,6 cm
Michael DeanFuck Sake (Working Title)2017reinforced concrete and steel171 x 74 x 28 cm
Michael DeanFFFF unfinished notes2016artist book20 x 32 x 20 cm
Solange PessoaUntitled, from Botânica2016oil on canvas120 x 120 cm
Philip MettenR0-42017spray paint on MDF, aluminium support (1 of 3)67,3 x 58,5 x 5,5 cm
Philip MettenC-0742016collage on paper35,2 x 28 cm
Amorepacific Museum of Art, The Republic of Korea
BAMPFA Berkeley Art Museum & Pacific Film Archive, Berkeley, United States of America
Daegu Museum of Art, The Republic of Korea
Fukuoka Asian Art Museum, Fukuoka, Japan
Gwangju Museum of Art, Gwangju, The Republic of Korea
Gyeonggi Museum of Modern Art, Ansan, The Republic of Korea
Hamburger Kunsthalle, Hamburg, Germany
Ho Am Art Museum, Yongin, The Republic of Korea
Jeju Museum of Art, Jeju Island, The Republic of Korea
Jeonnam Art Museum, The Republic of Korea
Kumho Museum, Seoul, The Republic of Korea
Kunstmuseum Bern, Bern, Switzerland
Kunstmuseum Bonn, Bonn, Switzerland
Kunstmuseum Dusseldorf, Dusseldorf, Germany
Leeum Samsung Museum of Modern Art, Seoul, The Republic of Korea
Mori Art Museum, Tokyo, Japan
Musée des Beaux-Arts la Chaux-de-Fonds, La Chaux-de-Fonds, Switzerland
National Museum of Modern and Contemporary Art, Gwacheon, The Republic of Korea
Sungshin Women’s University Museum, Seoul, The Republic of Korea
Seoul Museum of Art, Seoul, The Republic of Korea
Tochigi Museum of Fine Art, Utsunomiya, Japan
“Lingering with Objects. In paintings so measured that you can count their brushstrokes, it is as though Hyun-Sook Song slows time itself”
ArtReview, vol. 10, no.1, article by Wenny Teo (p. 74-79)
“More deeply suggestive than others. Experiments with memory and presence in the work of Hyun-Sook Song”
Text by Carsten Probst
“Nostalgia-infused brushstrokes. German-based artist Song Hyun-Sook expresses longing for her hometown through simple objects of traditional Korean life”
www.koreaherald.com, article by Woo-Young Lee (online)
www.hk-magazine.com, article by Jacqueline Garwood (online)
“Song Hyun-Sook – Breath and brushstrokes. Keynote Address at the Opening of Hun-Sook Song’s Exhibition in the Kunstverein Harburger Bahnhof January 20th, 2006”
Text by Werner Hofmann
Zeno X Books, Hannibal & König BooksCologne, Germany, 2021224 pages, ISBN 9783753300757
Zeno X Books, Hannibal & König BooksCologne, Germany, 2020112 pages, ISBN 9789463887359
Hakgojae GallerySeoul, Korea, Republic of, 2008123 pages, ISBN 97830000486647