Curatorial Statement

One Step Forward, Please

Radiation Party

The “object” hanging on the wall is horizontally rectangular, with rough, thick places throughout its broad, flat surface. The colorful lumps of paint closely resemble the rooftop of a building, with green waterproof layers of paint peeling off here and there.  What suddenly comes to mind is days in the past when I was living in a rooftop room. Back then, I would squat down at exactly the same eye level as shown in the painting, and count the stars.  Now, I come back to my senses, and the painting is a rectangular “object” again.

There is no need to memorize that the writing is his father’s writing, and the rooftop is where his father spent his years. The writing in an investigation report would be more detailed and precise. But as we face this “object” known as a painting, “functions” such as images, narratives, imagination and messages let themselves in and get stuck in our minds. It is a painting like a declaration of independence, which liberates us from the labor of decryption. To someone like me who highly appreciates effortlessness, whether in writing or painting, Kim Jiwon is a lucky man. In this sense, his painting resembles radioactive material. If you are exposed from up close, it is the end. It comes on its own, with no need for plowing or digging. The difference is that, while radiation overexposure will result in a terrible death, his paintings nourish the eyes and the mind.

Imagine scenes that begin from distant memories, move through landscapes of our reality, and zoom into the head of the artist, who is standing there. This exhibition is precisely such scenes. As if continuously clicking on a magnifying glass button as we move through the exhibition space, we gradually approach the artist in a flow of “memory→reality→inner self”:  from the artist’s father’s space within his memory, to the social landscape suddenly entering from the surrounding environment, and inside the artist’s head as he freely radiates and relaxes.

This exhibition is not a retrospective. Evidence for this is the work that one encounters upon stepping into the exhibition space:  No Looking Back (1995). Smack dab in the middle of the inner hall is a flat wooden bench that looks like it belongs in front of a countryside shop. As spectators sit with bottoms pressed against the bench’s surface, looking around, they are lent the “father’s gaze” in the artist’s memory, as if they are borrowing glasses. Visible from the father’s rooftop are a few buildings standing in the distance beyond the walls, some old flower pots, and jangdok (earthenware for storing food); among them, quietness and remorse linger in the air. Now, lending his father’s bench to spectators, with only an air conditioner outdoor unit vacantly keeping its place, the artist provides his late father’s handwriting as an offering, as if asking for permission.

Is a wall a landscape or a still life? Kim Jiwon has discovered a truly Korean visual. The iron fences, tightly wrapped around apartment complexes as if they were gimbap rolls, are without exception planted in ash-gray concrete walls. Retaining walls that bind together public facilities or car parks, or those that cover the severed surfaces stretched out along each side of a motorway, are familiar sights. Strangely familiar also are the repeated patterns on those walls, resembling unfamiliar jigsaw puzzles. From a distance, this truly uninteresting “fellow” radiates a sense of desolation with its yawn-inducing evenness, and from up close, is so rough and dry that its solidity is an eyesore. It is a “figure” as well as “ground,” always following you around as if it were a shadow—something you cannot escape from. Standing before a scene where “something that can be seen every day, and is no big deal” has taken the lead role and covers the entire exhibition space, spectators experience a subversion of worship in both subject and method.

I really hate cucumbers. Coincidentally, the 3rd floor of the museum is covered with cucumber paintings. Moreover, my least preferred among the 31 flavors of ice cream is mint, yet the walls of the 3rd floor have been painted mint color. Since my office is on that floor of the museum, I frequently encounter them. In general, the relaxing effect of cucumber pack massage and the refreshing aspect of mint draw people’s attention. Though my feeling is quite different, I, too, am forced to pay attention. The artist calms the tension of the overheated art scene, completing the exhibition by casually adding on ideas in their raw state, like a garnish. He turns the mind inside out to reveal human nature, with a concluding chapter of relaxation that engraves a lingering feeling of empathy.

From the father’s rooftop, to the walls of the city, and finally the artist’s crisp cucumber massage, what is the force that binds the three stages of memory-reality-inner self as one? 80 percent of preparation for the exhibition was in fact the search for that clue. Most consistent was that artist Kim Jiwon was simply unpretentious, confident, and always maintained moderation. These constitute a form of “truthfulness.”

To be simple and unpretentious means neither being absorbed in the mechanism, nor showing off hierarchy. Kim’s writing on an air conditioner, seen in one of his paintings, is an important hint that immediately enables us to understand that feeling. He paints as if writing memos. He talks the same way. He paints pictures as if scribbling something that no one else will see—as in the way we don’t exert pressure when writing each stroke of a memo. He does not pretend to be cool. So sometimes his picture looks like markings on a paper made while conversing and empathizing with a counterpart.

Meanwhile, Kim’s confidence is his natural attitude and kindness. Artists with outstanding pureness and boldness, ironically know they have these characteristics, and use them to their advantage. Kim, however, maintains his truly innocent face and stance, that he does not know what there is to hesitate about, that he does not know what is going on. For instance, even though this exhibition is not a retrospective, many former works are exhibited together with the new ones. With sparkling eyes, the artist boldly hangs old works in some of the best spots in the museum, as if this were natural, exclaiming, “I have dreamt about this for 20 years, for an opportunity to properly show these works. I am so glad that it is now.” A self-portrait that is not a self-portrait, painted three decades ago, which is like a pledge by the artist, has taken over the main position in the exhibition space. Moreover, the artist has named it One Step Forward, Please eager to have people come closer. Thus, both what he says with his mouth and what he says with his hands on the paintings, overflow with pure kindness. Confidence is probably closer to such an image than it is to loud boasting or refusal to bend.

Kim’s way of moderation appears in the form of seriousness and persistence. His Brain Sea Map (2025) shows drawn figures floating around on the broad sheet of paper, surrounded by all sorts of small memos such as measurements and names. And without exception, below the places where the artist has chanted a few lines, a bold horizontal line stretches out to divide the picture-plane in half, while various works and references are lined up along the flow of time like a schematic timeline. His memo drawings (?) usually take such form. I see persistence in this straight line. Once he has accumulated enough works to take over the horizontal axis, he examines the lineup and attempts to tie them this way and that—according to period, theme and tendency. Once tied, they become a series. Now the series are combined. Then the basic composition of the exhibition is established. When the exhibitions are accumulated, they finally become a method of speech. Making such a combination of experiments into another experiment—this is Kim Jiwon’s creative mechanism.

Thus, he diligently looks back whenever he has the chance—in order not to lose his propelling force to go forward without looking back. The aforementioned work that took over the main wall of the exhibition is No Looking Back (1995). A mixture of the determination and immaturity of youth flies in the wind like a blizzard, wearing armor, holding a canvas and light, and dashing through a snow field on a single horse. His determination that a work of art is something that burns one’s lifespan while walking the tightrope called work for a living, clearly reveals itself, like melted snow. I assume that this one utterly serious painting, the slightly embarrassing monologues and personal philosophy shown throughout the memos, ultimately created today’s Kim Jiwon. The perseverance of endlessly looking even at works of the past, seeing them in a new light, and the sincerity of frankly pouring out everything, with his brush-holding hands complexly relaxed—these were the two weights born by the artist during his tightrope walking for a livelihood, and his secret of balance that enabled him to stay on the line for almost half a century. The Similar Wall, Same Wall (1998-2025) series, which fills the 2nd floor of the exhibition space, closely resembles the rhythm of that easygoing tightrope walking. As I look at the simple yet gross shape of the chronological vertical line that takes over the artist’s memos, jumping out into the exhibition space, I experience Kim Jiwon’s kind of inertia—gradually receding and slowly widening, repeatedly checking and calmly building up, from similar and same perspectives.

Where can we start, to understand such a work philosophy? It is easy if we break the mythology of painting, and look at the works as they are. Rather than focusing on painterly layers or pureness, Kim scans contemporary events and scenes with candid eyes, as if writing memos. Still, he proudly presents the fact that the results are not artistic, holy things, but merely “paint-covered cloth.” He has thus proven that painting is like “a tightrope of moderation,” traversing material and image in a different mood every time. That is to say, painting begins from “the war and peace between physical substance and images as they give to and take from one another.”

Kim Jiwon’s paintings seen from up close, slowly in acknowledgement, are “literally paintings.” With their bumpy, thick, crispy, stained, cracked surfaces, they are paintings that one touches with the eyes. Painting is by no means a concluded form locked in a certain logic bestowed by heaven. It is merely a lump of unknown combination, with unstable lumps of paint—subtly different in color even though purchased from the same brand—applied unevenly on a cloth stretched over a flimsy frame that is not even strictly rectangular, while wearing the shackles of limited time, physical energy and number of brushstrokes. For certain, it is a reality and thing that one can touch. The painting silently guarding the exhibition space only becomes a chatterbox once it encounters someone. All sorts of stories relentlessly fire out through the frame like radiation. Only then do you begin to look at the painting and image separately.

What can one gain from separating the painting from the image? The painting is objectified and completed. It is like an object left in place. It is undeniably a real substance that exists on its own, even without any intervention or function. On the other hand, the image is quite shy. It always needs someone. In the moment it encounters a subject with perception and will, it flickers like a firecracker as it fades away after shining on the world outside the picture. If we look back at the creative process or situation, the “traces of action” that sparkle, the situation given by shape and color, are the “evidence of thought” sparking; and if we witness an illusion, it is the “indication and evocation” that sparkles. Moreover, none of the sparkles are the same. The same green hunk of paint gives freshness to one person, while it bombards another with harm. It can also be a new experience every time, even to the same person, as noted by David Salle (1952-), who said “a painting is an animation with a different plot every time it is seen.” Hence, the image is an unconcluded set that is open to all calculation (=action), and not a unique characteristic, like Kim Jiwon’s memo explains: “Lightning that is there one moment but gone in another, but not something without substance, just something that has flown by.” In other words, an image is something that always transforms. Ultimately, a painting is a game in which one freely goes back and forth between the physical substance and the image, like light reflected irregularly off a mirror. Thus, recognizing the limits leads to becoming a characteristic.

Flavors and scents preceding the explanation. Non-verbal linguistic things, for example, traces, gazes, attitudes, tenacity and painterly pleasure as their result. Direct observation of an exciting high-class rally where the physical substance and image give and take in ever-changing forms. Kim Jiwon is a typical artist who enables you to realize why it must be painting, and not poetry, novels, speech or song. This artist and his works do not require translation into verbal language. In fact, this is probably the model that most artists dream of.

Lee Kunyong (1942-) once said, “Ask any passerby at Gwanghwamun Square. No matter how many times you ask about this Kunyong or that Kunyong, no one will know. Art must empathize and must have a function. It needs to be useful. The ultimate ‘uselessness’ is what it is.” Even while aware of the physical substance of the painting, he never forgets about the outside of the canvas. To such a question, Kim Jiwon answers with sufficiently “useful” paintings. Rather, he has already made this clear through his exhibition title: One Step Forward, Please. “Come to empathize.” This is the invitation laced with friendliness and subtle confidence that he scatters among the people passing by Gwanghwamun. As the artist empathized with his subjects, the proof of empathy—the paintings—attempts to empathize with the spectators. The seductive beckoning wavers on the surface of this painting and that, endeavoring to lure people through the entrance into the exhibition space, into the field of influence of what is “closely, calmly, in detail.” It candidly extends its scheming hands, like radiation.

-Younggi Kim (Deputy Director, OCI Museum of Art)

Artist Profile

Education

1994     Graduated Hochschule für Bildende Künste–Städelschule, Frankfurt am Main, Germany

1988     B.F.A, Fine Arts Education, Inha University, Incheon

Selected Solo Exhibitions

2025     One Step Forward, Please, OCI Museum of Art, Seoul

2024     Kiaf SEOUL 2024, COEX PKM Gallery Booth, Seoul

2022     LEMON, PKM Gallery, Seoul

2021     Geogijae(居基齋): I was there, nook gallery, Seoul

2019     Wandering-Flower Shop, Space Mom Museum of Art, Cheongju

canvas fly, PKM Gallery, Seoul

2017     PICTURE GUARD, Gallery Bundo, Daegu

2016     Kim Jiwon Solo Exhibition, PKM Gallery, Seoul

Four Metaphors – Cheerful Landscape, WHITE BLOCK Art Center, Paju

2015     Exhibition for the 15th Lee In Sung Art Prize: Wall of Painting, Daegu Art Museum, Daegu

2014     Becoming the Horizon, Johyun Gallery, Busan

2014 Galleries Art Fair, COEX PKM Gallery Booth, Seoul

2012     Like the Wind, Lotus Gallery, Gwangju

2011     Like the Wind, HITE Collection, Seoul

Take off, Kumho Museum of Art, Seoul

Kim Jiwon Solo Exhibition, Johyun Gallery, Busan

2010     Kim Jiwon Solo Exhibition, PKM Trinity Gallery, Seoul

2009     Kim Jiwon Solo Exhibition, Gallery Bundo, Daegu

2007     Kim Jiwon Solo Exhibition, PKM Gallery, Seoul

2006     Strange Explanations (Enlightening Painting), Andrew Shire Gallery, Los Angeles, USA

Fly, Ga Gallery, Seoul

2006 Galleries Art Fair, Hangaram Art Museum PKM Gallery Booth, Seoul

2005     Paintings & Drawings, PKM Gallery, Seoul

2004    Mendrami, Gallery Fish, Seoul

2003    Still Life, Alternative Space Pool, Seoul

2002    Vinyl Painting, Gallery Fish, Seoul

1999    The beginning of Painting- In the Corner-, Seonam Art Center, Seoul

Similar Wall, Same Wall, Artsonje Museum((now) Wooyang Museum of Contemporary Art), Gyeongju

1998     The 4th Kim Jiwon Solo Exhibition, Jeun Kyoung Sook Gallery, Busan

1997     34×24, Boda Gallery, Seoul / Donga Gallery, Incheon

1995     The 2nd Kim Jiwon Solo Exhibition, Kumho Museum of Art, Seoul

1988     Collage Exhibition, The Third Gallery, Seoul

Painting Exhibition, Art Space Min, Seoul

Selected Group Exhibitions

2025     Persistant Follies, KOMPLEX GALLERY, Seoul

Insanghwa_Through the painter’s eyes, EVERYART, Seoul

I Knew This Day Will Come: 47 Years of Lee Kiejin and Jiwon Kim, Changseong-dong Laboratory, Seoul

o’Object, Mimesis Art Museum, Paju

2024     Here’s tomorrow’s weather forecast, Pohang Museum of Steel Art, Pohang

How is the weather like this?, EVERYART, Seoul / CHA Studio, Incheon / PLAC C, Jeonju

It is a funny weather, Civic Hub x Cultural Act, Hotel Yeonnam, Seoul

2023     Art Show & Fundraiser, Savina Museum, Seoul

Salon de nook gallery, nook gallery, Seoul

From Far Away, Sueño 339, Seoul

Paulownia Tree Root & Peach Petals, Mugaewon, Seoul

The Name of the Painting_Beginning of the Painting, nook gallery, Seoul

The Flowers Have Bloomed, Daejeon SHINSEGAE Art & Science, Daejeon

UNBOXING PROJECT 2: Portable Gallery, New Spring Project, Seoul

Wave in Gaze, Art Project CO, Seoul

2022     on paper, PKM Gallery, Seoul

Moving around, Changseong-dong Laboratory, Seoul

Poetry and Painting, gallerytheC, Seoul

New Beginning of Painting, Building36, Seoul

A Perpendicular Surface, Superior Gallery, Seoul

2021     Kiaf SEOUL 2021, COEX, Seoul

BLOSSOM ART FAIR, SHINSEGAE, Seoul

Wongi Sul Collection: “1+1” A Collector’s View, ONE AND J. Gallery, Seoul

Looking at the World Through Flowers, Government Complex Seoul, Seoul

Support Sarubia 2021, Project Space Sarubia, Seoul

Daejeon SHINSEGAE, Daejeon SHINSEGAE Art & Science, Daejeon

2020     Nature: The East Sea and Dokdo, Hangaram Design Museum, Seoul

The Great Epics, Daegu Art Museum, Daegu

MOVE SOMA 1_ Drawings, Online Exhibition, Seoul

Completed Incompletion, Yeemock Gallery, Seoul

Mendrami Bloomed in Cheonsa’s Sea Garden, Jeonyeoknoeul Museum, Shinan

-2020+, Kwanhoon Gallery, Seoul

Flower Flower Flower Flower, Seoul Botanic Park, Seoul

PROSPECT: NATURE, SEA, DOKDO AND EYES OF ARTISTS, Woljeon Museum of Art, Icheon

100 Collective Signatures of Daegu Art Museum, Daegu Art Museum, Daegu

2019     For the Picture is Vast, Art Delight, Seoul

LANDSCAPE FACTORY, Gallery White one, Seoul

The Square: Art and Society in Korea 1900-2019 Part 2. 1950-2019, National Museum of Modern and Contemporary Art, Gwacheon

DMZ, Culture Station Seoul 284, Seoul

Support Sarubia 2019, Project Space Sarubia, Seoul

2018     Salon de nook gallery, nook gallery, Seoul

BOTANICA, Busan Museum of Art, Busan

Wall of Vision, Art Delight, Seoul

畵畵. Landscapes of Seoul, Sejong Center, Seoul

2018 Galleries Art Fair, COEX, Seoul

2017     ART in LIFE, Seoul Craft Center the arium, Seoul

Real Landscape of Korea DOKDO & ULLEUNGDO, Seoul Calligraphy Art Museum, Seoul

Korea Tomorrow 2017: NARRATIVE LANDSCAPE, Sungkok Museum, Seoul

Kiaf SEOUL 2017, COEX, Seoul

ART Busan 2017, BEXCO, Busan

with companions, Sejong Center, Seoul

Painting and Painting, nook gallery, Seoul

Grass Grass Grass, Daegu SHINSEGAE Gallery, Daegu

2016     Four Metaphors, Art Center WHITE BLOCK, Paju

ART STAGE JAKARTA 2016, Sheraton Jakarta Gandaria City Hotel, Jakarta, Indonesia

The Jangheung Literary Trail: Old Path, New Path, Jangheung Culture Center, Cheongwan Literature Hall, Jangheung / Emu Artspace, Seoul

South Korean Art: Examining Life through Social Realities, American University Museum, Washington DC, USA

Flower Blossom, Incheon SHINSEGAE Gallery, Incheon

Being in Nature, Museum SAN, Wonju

PAPER, Johyun Gallery, Busan

2015     Support Sarubia 2015, Project Space Sarubia, Seoul

National Assembly Open Gallery, National Assembly Building, Seoul

Epiphany 通察, Jeondeungsa Jeongjoksan Archives, Ganghwa

Expressions and Motions, Seoul Olympic Museum of Art, Seoul

Commemorative Exhibition of the 70th Anniversary of Liberation: the Great Journey with the Citizens “Uproarious, Heated, Inundated”, National Museum of Modern and Contemporary Art, Seoul

Our Awesome Moments, HITE Collection, Seoul

SPACE LIFE, Ilmin Museum of Art, Seoul

2014     Exciting First Step, Gallery Neutinamu, Seoul

Do Something, Hampyeong Museum of Art, Hampyeong

          Viewing Paintings, 175 Gallery, Seoul

Our journey together, Gana Art Center, Seoul

Material-Magic, Ilwoo Space, Seoul

2013     Allomorphism, nook gallery, Seoul

Landscape, Centum City SHINSEGAE Gallery, Busan

2012     2012 SeMA Archives: Looking Back and Forward, Seoul Museum of Art, Seoul

Manners and Landscape, Daegu Art Factory, Daegu

Korea Tomorrow 2012, Hangaram Art Museum, Seoul

Sea of Peace: Boundaries Above Water, Incheon Art Platform, Incheon

FLOWER IN THE MOMENT, OCI Museum of Art, Seoul

Korean Contemporary Art in Beijing: Re Booting, Yan Huang Art Museum, Beijing, China

Crossings, Mimar Sinan Fine arts University Tophane-i Amire Culture and Art Center, Istanbul, Turkey

SeMA Gold 2012: Hidden Track, Seoul Museum of Art, Seoul

Korean figurative painting 2012, Kwanhoon Gallery, Seoul

KOREAN PAINTING NOW, National Taiwan Museum of Fine Arts, Taichung, Taiwan

Manner in Korean Paintings, HITE Collection, Seoul

2011     Visible, Invisible, Gallery Royal, Seoul

Nature, Life Human, Daegu Art Museum, Daegu

Familiar City, Unfamiliar Place, Centum City SHINSEGAE Gallery, Busan

Korean figurative painting 2011, Kwanhoon Gallery, Seoul

Sea of Peace, Incheon Art Platform, Incheon

Leap of the Deep Sea, Sungshin Women’s University, Seoul

People Pursuing the Future of Memories, Gana Art Center, Seoul

Demonstration of Informal Logic, Zaha Museum, Seoul

5 Artists’-Figurative Painting, NAMUART, Seoul

Abstract It!, National Museum of Modern and Contemporary Art, Seoul

2010     Present of Modern Art, Jeonbuk Museum of Art, Jeonju

21 & Their Times, Kumho Museum of Art, Seoul

Korea Drawing 30 Years: 1970-2000, Seoul Olympic Museum of Art, Seoul

The Masters of Korean Modern and Contemporary Art, 63 Sky Art Museum, Seoul

2009     shall we dance, SPACE OF ART, Seoul

2008     Art in Daegu 2008 : Uprising of the Images, KT&G, Daegu

Traveling Art Museum, Literature Exhibition Hall, Jangheung

Good Morning, MR. Nam June Paik, Korean Cultural Centre, London, UK

2007     It takes two to tango, Kumho Museum of Art, Seoul

Surplus Time, THE Gallery, Seoul

2006     Platform Seoul 2006: Somewhere in Time, Art Sonje Center, Seoul

Through the Looking Glass, Asia House, London, UK

Drawn to Drawing, SOMA Drawing Center, Seoul

Mind Reading Paintings, Gallery Yian, Daejeon

The Power of Imagination, Korea University Museum, Seoul

Uddangtangtang, Gallery Noon, Seoul

Gallery Noon Opening Exhibition, Gallery Noon, Seoul

2005     2005 Nominate, Arko Art Center, Seoul

Portrait of the Times, Park Soo Keun Museum, Yanggu

Korea-Japan Interchange Exhibition of Art School Professors, Hangaram Art Museum, Seoul / Museum of Tokyo National University of Fine Arts and Music, Tokyo, Japan

The Play Between, AndrewShire Gallery, LA / Arena 1 Gallery, Santa Monica, USA

Against Translation, Total Museum of Contemporary Art, Seoul

Let’s go, let’s go, Dongduk Art Gallery, Seoul

FLOWERS, Johyun Gallery, Busan

The Seoul Art Exhibition 2005, Seoul Museum of Art, Seoul

Movement on Silence, Gallery DOS(DOing Space) Seoul

Flower, I call your name, Gallery Bundo, Daegu

2004     Declaration for Peace 2004: 100 Artists from Korea and Overseas, National Museum of Modern and Contemporary Art, Gwacheon

Paper Not Paper, 175 Gallery, Seoul

Perspective of 2004 Contemporary Fine Arts, Sejong Center, Seoul

A Praise for Still Life, Ilmin Museum of Art, Seoul

2003     Energy, Project Space Zip, Seoul

繪畵所見, space Beam, Incheon

Crossings 2003: Korea/Hawai’i, East-West Center Gallery, Honolulu; Windward Community College Gallery Iolani, Hawai‘i, USA

TRICK, Dongduk Art Gallery, Seoul

Anti-war and Peace – Incheon, Incheon Culture & Arts Center, Incheon

Art and Playing, Hangaram Art Museum, Seoul

Five Person Trip, Gallery Fish, Seoul

The Presentation of Hybrid Painting, Youngeun Museum, Gwangju, Gyeonggi

Art with Life, Daejeon Museum of Art, Daejeon

Picture Story – Kim Eull. Kim Jiwon. Kim Taeheon, Gallery Samsung Plaza, Seongnam

2002     Life Poster Festival, MA Design Center, Saemal Photography Studio, Wonju

New Acquisitions 2001, National Museum of Modern and Contemporary Art, Gwacheon

67 Artists Helping Hyundae Munhak, GALLERY LAMER, Seoul

Gwangju Biennale Project 3: Stay of Execution, 5.18 Freedom Park, Gwangju

Neo Painting, Youngeun Museum, Gwangju, Gyeonggi

2001     Wind Wind Wind, Gwanghwamun Gallery, Seoul

Returned Phantom, art space pool, Seoul

Sensibility of December, Gallery Fish, Seoul

Crossing Images, Gallery Fish, Seoul

Korean Art 2001 ; The Reinstatement of Painting, National Museum of Modern and Contemporary Art, Gwacheon / Guangdong Museum, Guangzhou, China

2001 Odyssey, Sungsan Art Hall, Changwon

2000     Art-That Energy of Incantation, Sungkok Art Museum, Seoul

Insa Art Space Opening Exhibition: Another Space, Insa Art Space, Seoul

Landscape & Place-Atopia & Utopia, Gyeonggi Arts Center, Suwon

1999     Figurescape: 6 Artists from Korea, Space Untitled, New York, USA

Revival of the Painting, Sungkok Art Museum, Seoul

Barber shop painting, Incheon SHINSEGAE Gallery, Incheon / Gwangju SHINSEGAE Gallery, Gwangju / Gallery Fusion, Seoul

1998     1999 Preview-Seonam Art Academy, Seonam Art Center, Seoul

Frame is Better Than Painting, Kumho Museum of Art, Seoul

Landscape of Water, Gallery Sang, Savina Gallery, Seoul

Kim’s Outlet Open Art Festival, Kim’s Outlet, Seongnam

Wrongful Meeting, Savina Gallery, Seoul

1997     Expression of the Unexpressible, Posco Gallery, Seoul

Two Kim’s Exhibition, Dam Gallery, Seoul

Gwangju Shinsegae Art Festival, Gwangju SHINSEGAE Gallery, Gwangju

Another Love-Collection of Kumho Museum of Art, Kumho Museum of Art, Seoul

1996    Against Landscape, Donga Gallery, Seoul

The 4th Silkroad Art Travel Sketches, Donga Gallery, Seoul

Politics, out of Politics, Boda Gallery, Seoul

96 Give Attention to this Artist, Donga Gallery, Seoul

1995     Front DMZ, Gongpyeong Art Center, Seoul

Look Back in Anger, Gallery SEOHO, Seoul

Education and Ego, Ego and Education, SPACE sadi, Seoul

Art, Habit, Repentance, Kumho Museum of Art, Seoul

1994     Cafe ‘Lapaloma’, Hamburg, Germany

1993     Art Cologne, West Deutsch Rundfunk Studio, Köln(Cologne), Germany

1989     ‘88 Activity Artist Exhibition, Seoul Museum, Seoul

1988     The 8th Youthful Consciousness Exhibition, Hangang Gallery, Seoul

1987     The 7th Youthful Consciousness Exhibition, Hangang Gallery, Seoul

The 6th Dissemination Exhibition, Hangang Gallery, Seoul

1986     The 5th Dissemination Exhibition, Hangang Gallery, Seoul

The 9th Joongang Fine Arts Prize, National Museum of Modern and Contemporary Art, Seoul

1984     The 4th Dissemination Exhibition, The Third Gallery, Seoul

1983     The 3rd Dissemination Exhibition, The Third Gallery, Seoul

The 6th Joongang Fine Arts Prize, National Museum of Modern and Contemporary Art, Seoul

1982    The 1th, 2nd Dissemination Exhibition, Gallery near Seoul/Incheon, Seoul

/Incheon

Awards / Honors

2014    Winner of the 15th Lee In Sung Art Prize, Daegu Art Museum, Daegu

1986    Special Prize winner of the 9th Joongang Fine Arts Prize, JoongAng Ilbo, Seoul

1983    Special Prize winner of the 6th Joongang Fine Arts Prize, JoongAng Ilbo, Seoul

Publications

2020   Hyundae Munhak PIN series: Poem vol. 025, 026, 027, 028, 029, 030 Cover Illustration, Hyundae Munhak, Seoul

2011    Jiwon Kim Like the wind, SAMUSO: Space for Contemporary Art (HITE Collection), Seoul

Curations

2018     Curated Lucky Mansion, Eco Gallery, Seoul

2015     Co-curated Our Awesome Moments, HITE Collection, Seoul

2014     Curated Viewing Paintings, 175 Gallery, Seoul

Collections

Korea University Museum, National Museum of Modern and Contemporary Art, Kumho Museum of Art, Leeum Museum of Art, Maeil Dairies, Bumin Hospital Group, Busan Museum of Art, Seoul Museum of Art, Art Bank, Art Sonje Center, Jeonyeoknoeul Museum, Josun Palace, Hana Bank, HITE Collection, Korea National University of Arts, Hillstate Sewoon Central, JTBC, Seoul Olympic Museum of Art

Contact

canvasjw@gmail.com | @jiwon_k29