021 Gallery at Art Miami 2023

Art Miami, the longest-running contemporary and modern art fair in the United States, will take place as its 2023 edition on December 5-10th, 2023, at One Herald Plaza in Downtown Miami. The fair will feature over 180 galleries from around the world, showcasing a wide range of art from the 20th and 21st centuries.

021 Gallery from Daegu, South Korea, will be participating 2023 edition of Art Miami with participating artists Jaeha Lyu, Sanghm Choi, seon ghi BAHK, Doyeon Gwon, Seongjoon Hong, Fanhee Lee, Hyunwoo Lee, Yunji Jang.

021 Gallery opened its doors in 2016 and has been continuously presenting exhibitions that spotlight Korean contemporary art based on contemporaneity, especially the annex, which opened in 2020, which aims to become a cornerstone to advance beyond Korea and spread to the world by providing more exhibition opportunities to contemporary artists.

Jaeha Lyu (b.1960)  Jaeha Lyu transitioned from traditional paintings to pictorial videos and media display installations that seamlessly blend tradition and modernity. He has established the concept of 'Media Sculpture', utilizing LED displays, which expanded the boundaries of contemporary art. 'Media Cheomseongdae,' a symbolic installation at the G20 2010 summit, garnered global acclaim. Following 'Mapping of Junghwajeon at Deoksugung Palace,' he further extended his reach to popular outdoor spaces with 'Gwanghwamun Wavering of Light', a cultural heritage media façade work that captivated public attention. Not only does he employ intricate collages that combine physical objects, video images, and projection mapping, but he also harnesses media in the air, in harmony with nature, using his own developed video system. He is expanding into kinetic works with dynamic elements, juxtaposing ancient geometric forms with modern technological structures through cast iron.

Sanghm Choi’s work is ‘Multi-layered resin mortar,’ and he creates the work by pouring the paint, which he mixed himself. With mixed architectural matters, he repeats painting without drawing, pouring, drying, and waiting. The work unfolds through countless rounds of pouring paint and waiting, and the subtle breath between layers is determined by the physical state of the medium and the surrounding environment. The artist conforms to this illogical method, willingly embracing the repetitive nature of the process. In this way, his surface reaches a state of persistent overlay of layers, becoming the source of deep colors and mirror-like surfaces. 

seon ghi BAHK studied at the Brera Academy of Fine Arts in Italy and was awarded the Kim Jong-young Sculpture Award in 2006. He is a sculptor and world-renowned installation artist. The artist uses charcoal in space to create sculptures that look like three-dimensional drawings. With an interest in relationships between nature and humans, he focuses on charcoal, the final form of wood that represents nature. He hangs pieces of charcoal with nylon threads according to a strictly calculated perspective, and the “hanging charcoal,” which appears to be floating in space, looks different depending on each individual’s perspective. His work, made up of lines of charcoal fragments, expands the viewer's perception and space, and the existing space reveals light and humans. 

Gwon summons fragments of memory into reality and reconstructs them into photographs, intersecting the objects that existed with the world we face now. His major works include 《Twinkle》, 《Nocturama》, 《SF》, 《Bukhansan》, 《Flashbulb Memory》, 《The Art of the Shovel》, and 《Conceptual Dictionary》, and he has participated in numerous exhibitions at the Photofest Biennale, Incheon Art Platform, Seoul Museum of Art, and the National Museum of Modern and Contemporary Art. He received the Photography Criticism Award in 2011, the 7th KT&G Imagination Center SKOPF Finalist of the Year (2015), and the 10th Ilwoo Photography Award (2019) in the publishing category, and participated in residency programs at the National Museum of Contemporary Art Goyang (2017), Incheon Art Platform (2019), Geumcheon Art Factory (2021), and Nanji Creative Studio (2022). he is the author of Bukhansan (April Snow, 2021) and Flashbulb Memory, (Hatje Cantz, Germany, 2020). His work is in the collections of the Goeun Museum of Photography, the Seoul Museum of Art, and the National Museum of Modern and Contemporary Art. 

Seongjoon Hong (b.1987) Seongjoon Hong is a talented young artist who continues to actively create domestic and international work. With a consistent passion for material research and the properties of materials, he does the works that reveal the ambivalence of the painting made by his own matters without being based on causality, combing over layers on the solid foundation of the grid created by the units of Hanji. This results in a flexible and dynamic synesthetic space where the conflict between digital materials and analog textures flows. His work transfers a three-dimensional space into a two-dimensional space canvas, as if gazing through a window while encountering layers of overlapping space and flowing time. 

Fanhee Lee (b.1990) Fanhee Lee aspires to achieve a sense of formative completeness through his creations. He seamlessly traverses the realms of painting and sculpture, immersing himself in the inherent limitations and governing principles of the mediums. This approach to his work reflects a playful engagement with materiality, where the emphasis lies not on the artist's individual sensibilities or subjective expression, but rather on the inherent characteristics of the object itself, brought to the forefront through a careful consideration of its surface. 

Hyunwoo Lee (b.1994) Hyunwoo Lee's work is extensively experimental and unique. He regards sculpture as an image. The artist sees objects as they are and creates sculptures by applying repetitive force to the materials. To avoid being consumed by any situation or object, his works pay attention to the physical properties of objects and strip their forms one by one, leaving as images that act as a bridge between him and the public. He takes the emotional absence, such as anxiety and conflict of humans who have been dulled by the overflow of provocative virtual imagery, and even at the cost of discomfort, he awakes a sense of realness through imaged sculpture. This is an image of the artist and our fierce struggle to maintain our existence in society, and an image of the process of surmounting and recovering. Despite their dislike of forced uniformity in the relationship between humans and society, his chosen pursuit of uniformity leads to survival as an artist and desire and questions towards autonomous human beings, becoming the driving force behind his endless work. 

Yunji Jang (b.1995) Yunji Jang looks at our withered lives where ‘speed’ has become a measure of value and the ease in life has disappeared, while in contrast, bringing out forgotten memories of the past at a slow pace. The private memoirs of individuals living in a rapidly changing society are crucial elements of their inner selves, and they also influence reflective introspection about the individual as the subject of memories and the world. However, the artist refrains from separating what is right and wrong, opting instead to linger in the past, gently evoking happy small memories and childhood innocence that we have obscured and distorted over time, using familiar materials.

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