[This Week's Exhibitions] Oh Sang Kwon & Seongju Ham Two-Person Show 'Double Spread', Kim Miro Solo Exhibition 'Black Forest, Radiant Depths', and More

Editor's NoteThis week's exhibitions highlight diverse and captivating shows taking place across the country, offering a curated selection of what you can experience over the coming week.

Holy Mother & Ultra Monster_2013_C-print, Mixed media_126x98x74cm. Page Room 8

Oh Sang Kwon & Seong Ju Ham Duo Exhibition: "Double Spread"

Sculpture does not always exist as a solid mass. The duo exhibition "Double Spread" by Oh Sang Kwon and Seong Ju Ham, held at Page Room 8, showcases how these two artists, both with backgrounds in sculpture, approach three-dimensionality on a flat surface. "Double Spread" is the third iteration of Page Room 8's "Sculptors' Drawings" exhibition series, and its title refers to the two facing pages of an open book. Oh Sang Kwon treats photographs and images as tangible materials, overturning the weight, volume, and monumentality typically associated with sculpture. His series, such as "Relief," "The Flat," and "Deodorant," reveals the heightened tension before and after a photograph becomes a three-dimensional object. Personal objects like guitars, busts, and furniture are used to playfully twist and redefine the sculptural form.

Exhibition view of the solo exhibition "Double Spread" by Oh Sang Kwon and Seong Ju Ham held at Page Room 8. Page Room 8

Seong Ju Ham brings a sculptural sensibility to the canvas through his monochromatic portrait series. The figures that appear on his canvases move between reality and the virtual, blending the atmospheres of fashion imagery and game characters. Rather than offering specific portraits, the focus is on the forms that are shaped and refined on the surface. The brushstrokes—attaching, rubbing, or carving the facial features—are painterly in technique but sculptural in attitude, reminiscent of modeling clay. The exhibition arranges the artists' works as if turning the pages of a book, questioning how flat images can acquire a sense of space and tactility. The exhibition runs until July 8 at Page Room 8, Jongno-gu, Seoul.

Youngju Lim, Kakumei Tsurumei, 2026, single-channel video, color, stereo sound, 22 minutes. Doosan Gallery

Doosan Humanities Theater Curated Exhibition: "Three Languages"

No person can be fully described by a single language. The curated exhibition "Three Languages" at Doosan Humanities Theater explores identities that seep beyond categories such as nationality, gender, language, and age. The exhibition's title is inspired by the words of an individual born in North Korea, who lived through the Japanese colonial period, the Korean War, immigration to the United States, and eventual return. In the final chapter of his life, he spoke a blend of Japanese, English, and Korean. This mixture of languages is not seen as confusion, but rather as a way to reveal the layers of time and memory accumulated within a single body.

Seoyoung Jeong, Wanderer, 2022, Cement, 62 × 142 × 92cm. Doosan Gallery

Kim Ikhyeon, Youngju Lim, Seoyoung Jeong, and Eunyoung Cho each translate these layers through their own artistic languages. Eunyoung Cho creates misalignments in a translated and recited conversation between her Korean and American grandmothers, while Youngju Lim traces the inherited sensory legacy across generations through her grandmother's imitation of a crane’s cry and her mother’s crane dance. Kim Ikhyeon exposes the omissions left in systems of commemoration and classification through images of statues and bronzeware, and Seoyoung Jeong captures the state of objects just before they become something else through sculpture and sound. Rather than striving to categorize a being with precision, the exhibition lingers on the persistent gaps that defy classification. On view until August 1 at Doosan Gallery, Doosan Art Center, Jongno-gu, Seoul.

The Second Skin 2026 Collagraph, drypoint, silkscreen, monotype on Hanji, collage on canvas 130.3x162.2cm. Pyo Gallery

Kim Miro Solo Exhibition: "Black Forest, Radiant Bottom"

Kim Miro’s forest is dark, yet that darkness is far from empty. In her solo exhibition "Black Forest, Radiant Bottom," the artist inscribes the expressions of survival onto forms of flowers, trees, and animals. The images on her canvases are not created in a single stroke. She cuts, layers, and collages prints made using etching, collagraph, monotype, and silkscreen techniques to compose each unique piece. The repetitiveness of printmaking meets the serendipity of collage, allowing the edges of petals, patterns of beasts, and stems of plants to become subtle textures of emotion that are difficult to articulate in words.

First-Person Horizontal Sensation 2024 Monotype, collagraph on Hanji, collage on canvas 116.8x91cm. Pyo Gallery

The exhibition’s central theme is survival. Black calla lilies, tropical roses, tulips, foxes, rabbits, and owls appear not as decorative elements of nature, but as entities embodying camouflage, defense, silence, and secrecy. Torn petals and overlapping forms leave marks as traces etched by time rather than hidden wounds. In Kim Miro’s work, radiance is not the light that comes from brightness; instead, it is the sensation that remains in the body after passing through darkness. On view until August 1 at Pyo Gallery, Jongno-gu, Seoul.

This content was produced with the assistance of AI translation services.