from an intergenerational survey of Korean art to new paintings by Issy Wood

Panorama, SongEun, till 28 October

The variety of up to date Korean artwork is well known in Panorama, an intergenerational survey of Korean artists held on the non-profit artwork house SongEun. The exhibition highlights the artistic trajectories of 14 artists, every of whom presents current works alongside consultant examples from their again catalogue, comprising a panoramic perspective of a number of the most dynamic and in-demand artists working in Korea at the moment.

Right here, rising skills like Ryu Sungsil and Park Grim seem alongside mid-career artists like Kim Inbai, Rhee Jaye and Kwon Hyewon, whereas a few of Korea’s most promising millennial painters—Lee Jinju, Jeon Hyunsun, Lee Heejoon, Keem Jiyoung and Sim Raejung—are juxtaposed to deliver the disparate conceptual and methodological underpinnings of their practices right into a shared dialogue. Though Hong Seunghye is the one artist over the age of fifty included, her decades-long engagement with the pixel as a base unit for visible expression assumes new-found urgency when inserted into such a wealthy mixture of artists from subsequent generations.

A corollary programme of performances and sound installations prompts SongEun’s subterranean undertaking house, organised in a relay format that enables every artist—Kang Hoyeon, Anna Anderegg, Kim Youngeun and the duo GRAYCODE, jiiiiin—the liberty to utilise the complete potential of this cavernous house.

Issy Wooden: I Wish to Watch, Ilmin Museum of Artwork, 7 September–12 November

For Issy Wooden, the important thing to art-making isn’t just a query of what to color, however how to take action in a approach that’s genuine to her personal expertise. In I Wish to Watch at Ilmin Museum of Artwork—a Seoul establishment identified extra for its thematic group exhibits than solo exhibitions—the US-born, London-based artist presents a collection of 40 new works that exhibit her penchant for the seductive banality of up to date picture tradition.

Accompanying Wooden’s work within the exhibition are manifestations of her different artistic pursuits. A Korean translation of her 2022 guide Queen Child, a hefty compilation of the artist’s current writings and a memoir of the anxieties of Covid-era existence, affords guests a deeper look into the self-deprecating humour and infrequently bleak outlook that fuels her artistic course of. In a undertaking house adjoining to the museum’s third-floor gallery, guests encounter a collection of music movies by the artist, whose discography contains seven information.

No matter medium, Wooden’s artistic output is marked by a disarming immediacy, a cloying realism and a barely deranged compositional sensibility that makes it onerous to look away.

David Salle: World Folks, Lehmann Maupin, till 28 October

David Salle presents the ultimate iteration of his Tree of Life collection at Lehmann Maupin, closing the loop on a physique of labor that the New York-based artist initiated amid the despair and disruption wrought by the Covid pandemic. In these work, Salle conjures a postmodern Backyard of Eden with a mode of figuration that cribs from legendary New Yorker cartoonist Peter Arno, whose caricatures lampooned the vices and values of mid-Twentieth century city society.

Salle’s enjoyment of destabilising the pictures that populate his canvases is on full show on this exhibition. Every portray options cartoon characters caught in socially awkward conditions, bisected by stylised tree trunks. Swathes of summary brushwork animate the decrease panels of those works and function visible counterpoints that characterize artwork historic “roots” in addition to notions of the unconscious and the previous.

As a recurring motif all through the exhibition, the “tree of life” visually unites Salle’s current collection whereas bringing a dissonant word of color and abstraction that displays the ethical conflicts within the scenes above.

Suki Seokyeong Kang: Willow Drum Oriole, Leeum Museum of Artwork, 7 September-31 December

In her first solo presentation in South Korea since 2019, multidisciplinary artist Suki Seokyeong Kang unveils new and up to date works on the Leeum Museum of Artwork. Willow Drum Oriole presents a various array of greater than 130 works throughout the mediums of sculpture, set up, portray, textile, video and efficiency, which activate two exhibitionhalls in Leeum’s arts complicated and overflow into the museum’s subterranean foyer house.

The exhibition continues Kang’s longstanding curiosity in visualising modern social relations and invoking cultural heritage via refined manipulations of house and materiality. Among the many works on view are examples from her Grandmother Tower collection (2011-19), which earned Kang the Bâloise Artwork Prize in 2018 and heralded her arrival on the worldwide stage as one in all South Korea’s most promising modern artists. Additionally on present is Column, a brand new physique of labor together with sculptural installations and a video.

Nalini Malani: My Actuality is Totally different, Arario Gallery Seoul, till 21 October

Arario Gallery devotes all 4 exhibition areas of its new Seoul flagship venue to Nalini Malani’s My Actuality is Totally different, which mixes parts from the artist’s current solo museum displays on the Nationwide Gallery, London, and Montreal Museum of Tremendous Arts.

Over the previous 5 many years Malani has deployed transferring pictures to inform tales of oppression via feminist and anti-colonial lenses, crafting a potent mix of drawing, animation, efficiency and sound to suggest new interpretations of historic narratives.

This strategy is foregrounded within the exhibition’s eponymous work, a nine-channel video set up that envelops viewers with a 360-degree panorama of simultaneous animations through which pictures of well-known work from the Nationwide Gallery are digitally defiled utilizing Malani’s attribute strategy of effacement and erasure.

Elsewhere Malani has collaborated with native feminine artists to cowl the partitions of Arario’s underground house with murals exploring themes of reminiscence, remembrance and forgetting, leading to a site-specific iteration of her ongoing collection of performative wall drawings, Metropolis of Wishes (begun 1992). Rounding out Malani’s presentation is the video set up Ballad of a Lady (2023) and a collection of large-scale work that deal with the burden of self-sacrifice and struggling borne by girls all through historical past.