History of History of


14-23 JUNE 2015
Castello 996a, 30122 Venice

1.

History of History of Union Gallery IV

6-Part Giclée Print _ 2015

2.

History of Tenderpixel
in Inclined Angles Exhibition

Giclée Print _ 2011

3.

History of Gulbeinkian Gallery I, II & History of Tenderpixel
in Inclined Angles Exhibition

Giclée Print _ 2011

4.

History of Union Gallery IV
in Silence is Movement Exhibition

Giclée Print _ 2014

5.

History of Gulbenkian I & History of V&A I
in Show One RCA Exhibition

Giclée Print _ 2010

6.

History of Studio5 VII
in History of Kunst Doc Exhibition

Giclée Print _ 2012

7.

History of Hockney Gallery II
in History of Kunst Doc Exhibition

Giclée Print _ 2012

‘History of History of ’ is an exhibition as well as a showcase of the on-going photographic series of Soon-Hak Kwon’s ‘History of’. ‘History of’ is a series of photographs of blank walls surrounding our interior space, particularly gallery walls, which are often white as they are intended not to be seen. Accordingly, in a strict sense, we are oblivious to the wall. Seeing the wall is only possible if we could purely see, as an infant would observe the world. Therefore, the image of white walls presents the moment before one identifies the world of things.

The Exhibition is consist of two new attempts where it meets the conception of this exhibition, assigning a new meaning to the past work. Firstly, a new work which has a hexagon shape edges: titled ‘History of History of Union Gallery IV’ traces the wall where the previous work was installed. The same wall where the wound of the intensive 42-panel installation has been revisited, examined and taken to create yet another layer in the already sophisticated signifier as it depicts not only the numerous wounds that time has created but also includes Kwon’s own intervention of the past into the present tense. If the previous work was, while retaining the blank gallery wall photographs as the work’s pictorial component, a new departure from the History of series as this work was divided into 42 discrete panels arranged in configuration derived from the image sensor array of the Kepler Space Telescope. The gallery wall could be considered a beyond-perception nothingness(in terms of our learned perceptual habits) that must be (re) apprehended by a heightened focus on its details, the infinity of outer space is quite literally beyond human perception and must be apprehended via the space telescope’s recording of the universe’s details. ‘History of History of Union Gallery IV’ continues the poetically suggested synonymity between two situations of wildly different scale applying the hexagonal mirror array of James Webb Space Telescope.

Secondly, the photographic documentation of the installed works in various exhibition is proposed as a photographic artwork in a form of prints for the first time to the artist. This was possible as the documentation photographs was taken equally serious as making the actual works; in the same multi-stitching process. These were drawn out of the computer’s hard drive files, in other words, from the artist’s vault, showing the obsession towards archive and capturing detail.

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