ART SG 2023: Online Viewing Room

12 - 15 JANUARY 2023

Installation Images

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Arario Gallery is pleased to announce our participation in ART SG 2023 from 12 to 15 January. The booth will feature the following Arario artists’ recent artworks, GWON Osang, NOH Sangho, AHN Jisan, LEE Jeongbae, JUNG Kangja, Leslie DE CHAVEZ, Geraldine JAVIER, Uji Handoko Eko Saputro, LIANG Manqi, Kohei NAWA, and Eko NUGROHO at Booth BH05.

Participating Artists:

GWON Osang | NOH Sangho | AHN Jisan | LEE Jeongbae | LEE Jinju | JUNG Kangja | Leslie DE CHAVEZ | Geraldine JAVIER | Uji Handoko Eko Saputro | LIANG Manqi | Kohei NAWA | Eko NUGROHO

Venue: Booth BH05, Marina Bay Sands, Singapore
VIP Preview: 2023. 01. 11 (Wed)
General Admissions: 2023. 01. 12 (Thu) - 01. 15 (Sun)
Photo: Norbert Miguletz, ©Frankfurter Kunstverein

Artists
Eko NUGROHO

Eko NUGROHO (b. 1977, Yogyakarta, Indonesia) was raised among the revolutionary environment of the 1990s Indonesian atmosphere and pour those experiences caused by the aftereffect of multiple civil revolutions into his work with a unique sense of humor and dazzling color and image. Ever since his days in Institut Seni Indonesia, he was deeply inspired by the city, Jogyakarta, which was full of desire for liberty and liberation and he tried to transform them into Street Graffiti and Street Propaganda, with the intention to follow those media pure intent to speak for the public and further, he has worked on a painting, Installation and theatric works to expand his span of self-realization. Traditional Indonesian Embroidery works, which based on his own community's workforce with his distinctive bold style, expand art from individual to social area and highlight the meaning of community.
He has exhibited widely in Asia as well as in Europe, including participation in the 5th Asia Pacific Triennial of Contemporary Art (2006) in Brisbane, Australia, and more recently at the Singapore Art Museum’s Imaginarium (2017) and the Children’s Biennale at the National Gallery Singapore (2019). He lives and works in Yogyakarta, Indonesia.
- Eko NUGROHO, A Pot Full Of Peace Spells, 2019
- Eko NUGROHO, Unity in Hiding, 2018
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Art Talk South East Asia, © 2023 Tony Godfrey

Artists
LESLIE DE CHAVEZ

Leslie DE CHAVEZ(b.1978) is an artist who cautiously unravels his own inquiry on sensitive topics like colonial history, religion, cultural imperialism, corrupt politics, revolution in which experienced by his native Philippines with expressive and intense paintings and sensuous installations. His work, captures the story of the past, the people living in the present, and the will for the future, which mainly constitutes a country of the contemporaneous Philippines and offers an extraordinary insight into the past and features an interesting and colorful expression of various critical points that are seen in contemporary society by mixed with religion and symbolic figures.

Leslie DE CHAVEZ has held solo exhibitions at Arario Gallery Shanghai (Shanghai, China) in 2018; Arario Gallery Seoul (Seoul, Korea) in 2016; Liverpool Hope University (Liverpool, UK) in 2015; and Silverlens (Manila, Philippines) in 2013. He has shown in group exhibitions at the Danubiana Meulensteen Art Museum (Bratislava, Slovakia) in 2019; Jeju Museum of Contemporary Art (Jeju, Korea) in 2015; and Arario Museum in Space (Seoul, Korea) and López Museum and Library (Manila, Philippines) in 2014. The artist has also participated in international exhibitions including the Singapore Biennale (Singapore) in 2013; Asian Art Biennial (Taiwan) in 2011; Nanjing Triennial (China) in 2008; Pocheon Asia Biennale (Korea) in 2007; and Beppu Asia Biennale of Contemporary Art (Japan) in 2005.
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Image from Art Fair Philippines

Artists
GERALDINE JAVIER

Geraldine JAVIER captures a complex context of social, political, and historical circumstances which Philippines society was faced for decades, then reinterprets through her distinct perspective. Unlike her social-realist predecessors, Geraldine has variegated and extensive interests, who engaged in pursuing the personal and the idiosyncratic form of artistic expression. Geraldine’s works are full of tension and provocation, which are accumulation of cool, calculated sophistication with raw urban grit that influenced by international media and local pop culture. Geraldine constantly blends various types of material and media for her oeuvres, such as oil painting incorporated into installation art or combine multi-media object into canvas. Images of death, misery, dysfunctional relationships, and emotional violence are frequent subject matters that constantly depicted in Geraldine’s works, which are derived from her complex, viscous thoughts; and intimations, silent tensions and implosions of her art world.

Geraldine JAVIER has participated solo exhibition at Arario gallery Shanghai (Shanghai, China) in 2018, PSP (Project Space Philippines) (Quezon, Philippines) in 2017, Finale Art File (Makati, Philippines) in 2015, Arario gallery Seoul (Seoul, Korea) in 2013, and Equator Projects Gallery (Gillman Barracks, Singapore) in 2012. In addition, she has participated group exhibition at Arario gallery Cheonan (Cheonan, Korea) in 2020, Silverlens Galleries (Makati, Philippines) in 2019, Havana Biennale (Havana, Cuba) in 2019, Arario gallery Shanghai (Shanghai, China) in 2017, Art Gallery of New South Wales (Sydney, Australia) in 2017, Arario gallery Shanghai (Shanghai, China) in 2016, Ormond Hall (Melbourne, Australia) in 2012, and Prague Biennale, (Prague, Czech Republic) in 2009. Geraldine JAVIER awarded “Thirteen Artists Award” at the Cultural Centre of the Philippines (Manila, Philippines) in 2003. Major collections include NCCA (National Center for Culture and Arts) (Philippines), Central Bank of the Philippines (Philippines), Las Casas De Filipinas De Acuzar (Philippines), Singapore Art Museum (Singapore), and Arario Museum (Korea).
- Geraldine JAVIER, Jarman, 2017
- Geraldine JAVIER, Jekyll, 2017
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Photo : Nobutada OMOTE｜SANDWICH

Artists
KOHEI NAWA

Kohei NAWA received his BFA, MFA, and Ph.d. in Fine Arts Sculpture from the Kyoto City University of Arts. He is currently the Assistant Professor at Kyoto University of Art and Design, and the director of SANDWICH, a creative platform for art, design and architecture established in Kyoto in 2009.

NAWA had a solo exhibition in support of Foundation d'entreprise Hermes in 2009, and had his successful solo exhibition at Museum of Contemporary Art Tokyo (MOT) in 2011. He joined Setouchi Triennale and Aichi Triennale after accomplishing his successful project "Manifold", a large scale public art exhibited permanently in Cheonan, Korea in 2013. Having unique concept of PixCell as an axis, his works continue to unfold expressions in diversity. His art has been collected by prestigious art galleries and museums around the world, including Museum of Contemporary Art in Tokyo, Mori Art Museum, and The Metropolitan Museum of Art.
- Kohei NAWA, Direction#279, 2020
- Kohei NAWA, Direction#280, 2020
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Copyright ⓒ 2018 Artist and ARARIO Gallery

JUNG KANGJA

JUNG Kangja(1942-2017) is one of the representative female artists who addressed a turbulent historical era in Korea. She emerged in Korean art circles through the Korean Young Artists Association Exhibition in 1967. In the 1960s and the 70s, when the Korean military government and ideologies were in conflict, JUNG tried to make voices in society through various formative experiments as a member of 'New Exhibition Coterie' and 'The Fourth Group'. Introducing the real politics into the context of art by using an artist's body and performance was a challenge to the traditional ideas and a resistance on the social system. However, in 1970, the government started to impose more severe sanctions against all activities using the human body. After her solo exhibition in 1970, JUNG moved to Singapore with her family and spent time away from the Korean art scene for over 10 years. The artist's socially critical mind and subjective spirit in the 1960s were connected to formative experiments in the paintings she was devoted to after her return to Korea in 1981. JUNG's strong willpower became an impetus to allow her to overcome alienation, and a driving force to make her stand in front of the canvas despite the harsh struggle with cancer. JUNG's work over the last 15 years does a poignant job of displaying her interest in something concrete and realistic, something that had expanded into interest in human beings through abstract, transcendental forms. In short, she wanted to liberate herself through "imaginations that I stretch in my own way in an unlimited, free space that is bound to nothing."
- JUNG Kangja, The Dancing Polynesian (Samoa), 1991
- JUNG Kangja, Haiti, Festival of Fantasy, 1987
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Credit: Supplied courtesy of Hermès

Artists
GWON OSANG

GWON Osang (b. 1974) is a sculptor who has constantly questioned the identity of sculpture and tried to converge new experimental media into new form structure. His varied approach for exploring the existence of sculptures is composed of five series, Deodorant Type, The Sculpture, The Flat, New Structure, and Relief. The "deodorant type" was shaped in ‘ISO-pink(hardened Styrofoam)’ to break the notion that sculpture must be heavy, and the outer edges were covered with hundreds of photographs directly taken or collected for supporting light sculptures and expanded the sculpture while presenting new materials.

GWON Osang has held solo & collaborative exhibitions at Ilmin Museum of Art (Seoul, Korea), Suwon Museum of Art (Suwon, Korea) in 2022; TYPE (Seoul, Korea) in 2021; Arario Gallery Shanghai (Shanghai, China), Arario Gallery Seoul (Seoul, Korea), and Hermès Sydney (Sydney, Australia) in 2016; Okinawa Prefectural Museum & Art Museum (Okinawa, Japan) in 2015; HADA Contemporary (London, UK) in 2013; and Manchester Art Gallery (Manchester, UK) in 2008. The artist has participated in group exhibitions at the V&A Museum (London, UK), Hite Collection (Seoul, Korea), The Shophouse (Hong Kong) in 2022; the Seoul National University Museum of Art (Seoul, Korea) in 2021; Daelim Museum (Seoul, Korea) and Pohang Museum of Steel Art (Pohang, Korea) in 2020; LOTTE Museum (Seoul, Korea) in 2019; Arario Gallery Seoul (Seoul, Korea) in 2018; MMCA, National Museum of Modern and Contemporary Art (Seoul, Korea) in 2015; SAM, Singapore Art Museum (Downtown Core, Singapore) and Busan Biennale (Busan, Korea) in 2014; Saatchi Gallery (London, UK) in 2010; Burger Collection (Berlin, Germany) in 2009; Asia Triennial Manchester (Manchester, UK) in 2008; MAMbo, Museo d'Arte Moderna di Bologna (Bologna, Italy) in 2004; and Foam, Fotografiemuseum (Amsterdam, Netherlands) in 2003. GWON has also collaborated with a variety of brands, including Riot Games, Jaguar, BMW, and Hermès to present contemporary art closer to the public.
- GWON Osang, National Treasure No. 166 & Cava, 2016-2018
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Artists
AHN JISAN

AHN Jisan (b.1979) works with traditional canvas painting, a relatively marginalized medium in contemporary art. His works depict reality, but one that is strangely misaligned or distorted. The depiction of obscure images adds visual tension, and these subjects, which have slipped out from reality, project an even greater uneasiness that brings out their innate anxiety. Upon confronting his work, there is an instant sense of discomfort. The emotional tension and gloominess are amplified by accentuating the material properties and mounting thick, expressive layers of paint onto the canvas. AHN's intention to express the subject in its raw visual state brings out the absorbed emotions created and embedded within it. These improvised animalistic expressions are possible through a thorough study and modeling process. The substantiality of the objects is neither constructed nor reconstructed but is, in fact, a realization of experienced, felt, and penetrated emotions. Rather than portraying the subject of conceptual representation through obvious imagery, the artist expresses the reality and emotional experience of the subject through intuition and empathy.

AHN Jisan has held solo exhibitions at Arario Gallery Seoul (Seoul, Korea) in 2021; Galerie Bart (Amsterdam, Netherlands) in 2020 and 2015-2014; and Zaha Museum (Seoul, Korea) and Hapjungjigu (Seoul, Korea) in 2017. He has also participated in group exhibitions at Gyeonggi Museum of Modern Art (Gyeonggi-do, Korea) and MMCA, National Museum of Modern and Contemporary Art (Seoul, Korea) in 2020; Savina Museum (Seoul, Korea) in 2019; Kunsthalle Münster (Münster, Germany) in 2018; Daegu Art Museum (Daegu, Korea) in 2017; ARKO Art Center (Seoul, Korea); and Gallery LUMC (Leiden, Netherlands) in 2016. He participated in a residency at Rijksakademie van Beeldende Kunsten (Amsterdam, Netherlands) in 2013-2014, and was awarded the “Buning Brongers Prijzen” in 2014.
- AHN Jisan, Storm 066, 2022
- AHN Jisan, Storm 065, 2022
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ⓒnoblesse

Artists
LEE JINJU

LEE Jinju's work begins from questions thrown repeatedly in life. The negative events and emotions of the past, which were not even wanted, endlessly appear and disappear within the everyday life.

From the superfluous cut to a well-made frame, following their softly soundless stories, cuddling the insignificant and petty motifs of the everyday, she discovers the unconscious sensuous layer that is hidden inside. At that moment, Lee becomes a melancholic adventurer and the everyday is reborn into things of the extraordinary.
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Image from Seoul Art Guide

Artists
LEE JEONGBAE

LEE Jeongbae (b. 1974) creates works that mirror the image of nature among the city's landscapes, which are privatized and tailored to conform to human needs and desires. Prior to this, the artist experimented with various mediums, including painting, photography, video, and installation. In 2016, LEE began to take an interest in representing deteriorating landscapes that had gradually lost all original meaning through the encroachment of capitalism. These segmented images, which become objets, each act as a landscape that portrays various scenes from nature. LEE Jeongbae's works, which examine the daily life of the city, capture fragments of mountains, rivers, and the sky that peer through the cityscape. These images are separated by geometric forms and expressed through the use of artificial materials such as FRP and aluminum panels. Nature, which has been torn apart by capitalism and materiality, is recomposed by LEE into atypical forms and painted over with color. Completed through a delicate process of painting the surface of the sculpture hundreds of times, these works represent new abstract landscapes expressed through LEE's perspective.

Since LEE Jeongbae's first solo exhibition at Munhwa Ilbo Gallery (Seoul, Korea) in 2005, he has shown at Artside Gallery (Seoul, Korea); Window Gallery at Gallery Hyundai (Seoul, Korea); 16 Bungee at Gallery Hyundai (Seoul, Korea); Seodaemun Prison History Hall (Seoul, Korea); Pibi Gallery (Seoul, Korea); Goodspace Gallery (Seoul, Korea); and the Seoul Metropolitan Government (Seoul, Korea). LEE has also participated in various group exhibitions at the Busan Museum of Art (Busan, Korea); Korean Cultural Center in Brussels (Brussels, Belgium); Buk-Seoul Museum of Art (Seoul, Korea); Seoul Olympic Museum of Art (Seoul, Korea); Arario Gallery (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea), and more. In 2011, LEE was awarded the "JoongAng Fine Arts Prize," organized by the Seoul Arts Center (Seoul, Korea). His works are included in many significant collections such as MMCA, National Museum of Modern and Contemporary Art (Seoul, Korea); Seoul Museum of Art (Seoul, Korea); Arario Museum (Seoul, Korea); Joongang Ilbo (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea); and ART OMI Collection (New York, USA).
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Image from Baidu

Artists
LIANG MANQI

LIANG Manqi was born in 1986 in Guangdong Province, China. She graduated from the department of art education at China Academy of Art in 2009 and obtained her MFA from the CDK (Chinesisch-Deutshe Kunstakademie), a joint degree program of the University of the Arts, Berlin and the China Academy of Art in 2012. She currently lives and works in Shanghai. As a representative of the Chinese female artist of abstract art of the post-80s generation, LIANG Manqi adopts two-dimensional paintings as the primary clue, utilizing installations, site-specific paintings, and even the architectural structure of the space as her media. Those seemingly logical visual symbols on canvas are balanced through the artist’s abundant sensibility and emotional order. LIANG Manqi takes the geometrical shape and color as a method to understand herself and her surroundings, as well as the passage to embrace the psychological uncertainty, contradiction, and conflict.

LIANG Manqi has held various solo exhibitions and participated in several group exhibitions, including Dancing Queen: Contemporary Women Artitst from Asia, Arario Gallery, Cheonan, Korea, 2020; Lunar Phases, UCCA, Beijing, China, 2019; Emocoding, Arario Gallery, Shanghai, China, 2017; Voice of Asia, ARARIO GALLERY, Shanghai, China, 2017; Fantasy Creator, chi K11 Art Museum, Shanghai, China, 2017; Space in Mind, Animamix Biennale 2015-2016, Museum of Contemporary Art, Shanghai, China, 2016; Expectation, SVA-NYC Art Platform (SNAP), Shanghai, China, 2016; Each to His Own: Li Wendong | Wei Xingye Collection Exhibition, OCAT, Xi‘an, China, 2016; Imaginary Practice, Contemporary by Angela Li, Hong Kong, China, 2016; WE: A Community of Chinese Contemporary Artists, chi K11 Museum, Shanghai, China, 2016; Colometry, ARARIO GALLERY, Seoul, Korea, 2015; Several Objective Relations, Arario Museum, Jeju, Korea, 2014; etc.
- LIANG Manqi, Untitled, 2018
- LIANG Manqi, Aperture, 2017
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© Atelier Hermès

Artists
NOH SANGHO

NOH Sangho (b.1986) is a natural born storyteller, sincere practitioner and bold experimenter. Browsing the Internet and social media daily, the artist diligently collects myriad images of the day to day. NOH reconstructs the fragments selected from an array of images onto carbon paper, which is a medium that represents him as an artist. The works, executed on carbon paper, reveal the artist’s unique perspective on the flexibility of the “image” in the digital era, defined by a flood of images that travel and transform freely across platforms. Furthermore, in an attempt to expand the theme of his work to realizing the three-dimensionality of images, the artist introduces a series of works in which 2D planes and 3D moving images are intertwined organically. NOH, who considers the manner in which his works are presented and consumed to be an essential part of his practice, explores various bold and experimental ways of installation, such as largescale wall hangings and drawings on hangers—reminiscent of a clothing store.

NOH Sangho has held solo exhibitions at various institutions such as Arario Museum in Space (Seoul, Korea) in 2018, SongEun ArtCube (Seoul, Korea) in 2017, and SeMA West Warehouse in 2016 as well as group exhibitions including "Voice" at Isetan The Space (Tokyo, Japan) in 2022, “The 13th Hesitation” at Arario Gallery (Cheonan, Korea) in 2021, “Elsewhere” at Atelier Hermès (Seoul, Korea) in 2020, “POP/corn” at Daegu Art Museum (Daegu, Korea) in 2019, “Summer Love” at SongEun ArtSpace (Seoul, Korea) and “Flip Book” at Ilmin Museum of Art (Seoul, Korea) in 2018, “B-Cut Drawing” at Kumho Museum of Art (Seoul, Korea), and “Layers and Spaces” at MMCA (Gwacheon, Korea) in 2017, “Intuitive Landscape” at Arario Gallery (Seoul, Korea) in 2016, “Young Korean Artists 2014” at MMCA (Gwacheon, Korea) in 2014. The artist participated in an artist residency exchange program between Hungary and Korea (Budapest, Hungary) in 2016 and was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2015.
- NOH Sangho, THE GREAT CHAPBOOK 3, 2022
- NOH Sangho, THE GREAT CHAPBOOK 3, 2022
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