[Ropac] Heemin Chung Seoul 2025 Preview EN
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Heemin Chung Garden of Turmoil 21 November 2025—7 February 2026 Seoul Fort Hill
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Spheres, 2025 Acrylic, gel medium and UV print on canvas 89 x 130 cm (35.04 x 51.18 in) (HC 1090) Chung describes her paintings as ‘landscapes’: composites in which layers of handcrafted and digital matter accrete without ever fully integrating. Their tactile, alluring surfaces operate within both organic and artificial registers, evoking synthetic plastics as much as geological formations or bodily terrains. Through these contoured topographies, she seeks to restore physical autonomy to images that, in the virtual realm, are flattened and estranged from their material origins. Spheres, 2025 Acrylic, gel medium and UV print on canvas 89 x 130 cm (35.04 x 51.18 in) (HC 1090) [金额已省略]
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Two Mouths Whispers 4, 2025 Acrylic, gel medium and UV print on canvas 73 x 61 cm (28.74 x 24.02 in) (HC 1089) Two Mouths Whispers 4, 2025 Acrylic, gel medium and UV print on canvas 73 x 61 cm (28.74 x 24.02 in) (HC 1089) [金额已省略] The pictorial surface, an incomplete illusion in which painterly images of differing textures are pieced together with gel medium, is akin to a mixed reality in which the virtual and the actual are inextricably entwined. — Moon Hyejin
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Your Angry Setting Sun, 2025 Acrylic, gel medium and UV print on canvas 117 x 80.5 cm (46.06 x 31.69 in) (HC 1091) Your Angry Setting Sun, 2025 Acrylic, gel medium and UV print on canvas 117 x 80.5 cm (46.06 x 31.69 in) (HC 1091) [金额已省略]
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There She was Found Pulled and Folded 1, 2025 Bronze 323 x 94 x 145 cm (127.17 x 37.01 x 57.09 in) (HC 1087) There She was Found Pulled and Folded 1, 2025 Bronze 323 x 94 x 145 cm (127.17 x 37.01 x 57.09 in) (HC 1087) [金额已省略]
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Being Merged, 2025 Acrylic, gel medium and UV print on canvas 65 x 45 cm (25.59 x 17.72 in) (HC 1093) The artist frequently uses photogrammetry, a process that reconstructs three- dimensional models of physical objects and environments by combining images captured from multiple angles. Rather than functioning merely as a digital tool, photogrammetry becomes for Chung a sculptural act – a way in which immaterial form can, once again, acquire volume, tactility and density. The inherent shapes of the motifs she selects – scalloped shells, cresting waves or grooved bark – also contradict the conditions of her chosen medium. Through them, she highlights the paradox of representing three-dimensionality on a flat surface, whether digital or pictorial. As curator Kim Jinju notes, her paintings ‘enter the three-dimensional world with a surface intended for two dimensions.’ Being Merged, 2025 Acrylic, gel medium and UV print on canvas 65 x 45 cm (25.59 x 17.72 in) (HC 1093) [金额已省略]
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Being Saturated, 2025 Acrylic, gel medium and UV print on canvas 65 x 45 cm (25.59 x 17.72 in) (HC 1094) Being Saturated, 2025 Acrylic, gel medium and UV print on canvas 65 x 45 cm (25.59 x 17.72 in) (HC 1094) [金额已省略] By rematerialising objects that have become data through techniques such as transferring and casting, I open up an imaginary space of replication and proliferation. — Heemin Chung
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The Hour of a Black Petal, 2025 Acrylic, gel medium and UV print on canvas 100 x 73 cm (39.37 x 28.74 in) (HC 1092) While invested in the contemporary technological experience, Chung’s work also draws on 19th-century Romanticism and the concept of the sublime. Defined by British philosopher Edmund Burke as the simultaneous awe and terror evoked by something too vast or powerful to be fully comprehended, the sublime became central to the Romantic imagination, shaping both painted and literary depictions of the natural world. Inspired by J. M. W. Turner’s vertiginous seascapes, in which humankind appears defenceless before nature’s overwhelming force, Chung translates this Romantic sensibility into the present through her engagement with the digital landscape – a similarly boundless realm that is apprehended through the sensate, visceral body. The Hour of a Black Petal, 2025 Acrylic, gel medium and UV print on canvas 100 x 73 cm (39.37 x 28.74 in) (HC 1092) [金额已省略]
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In Garden of Turmoil , Chung brings digital, painted and sculptural forms into coexistence. She explores the ‘natural’ and the ‘artificial’ as dialectical constructs – each defined and perceived through the other – and how, whether through the technologies of 3D modelling or painting itself, nature can be continually redefined as a material reality. Where the Current Passed Through , 2025 Acrylic, gel medium and UV print on canvas 34 x 25 cm (13.39 x 9.84 in) (HC 1096) Where the Current Passed Through , 2025 Acrylic, gel medium and UV print on canvas 34 x 25 cm (13.39 x 9.84 in) (HC 1096) [金额已省略]
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Sketch for a Black Petal, 2025 Acrylic, gel medium and UV print on canvas 34 x 24 cm (13.39 x 9.45 in) (HC 1100) Sketch for a Black Petal, 2025 Acrylic, gel medium and UV print on canvas 34 x 24 cm (13.39 x 9.45 in) (HC 1100) [金额已省略]
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Heemin Chung About the artist Heemin Chung, 2025. Heemin Chung was born in Seoul, South Korea, where she continues to live and work. She received her MFA in Fine Arts from the Korea National University of Arts, Seoul in 2015, and has since exhibited her work in solo exhibitions at DOOSAN Art Center, Seoul (2023); Sindoh Art Space, Seoul (2022); Museumhead, Seoul (2021); Kumho Museum of Art, Seoul (2018); and PS Sarubia, Seoul (2016). She has also participated in numerous group exhibitions, including those at WESS, Seoul (2023); Nam-Seoul Museum of Art (2021); Eulji Art Center, Seoul (2021); Soorim Art Center, Seoul (2020); Gyeonggi Museum of Modern Art, Ansan (2020); Rainbowcube, Seoul (2020); Platform L, Seoul (2019); Boan 1942, Seoul (2019); National Museum of Modern and Contemporary Art, Gwacheon (2019); Hite Collection, Seoul (2018); Korean Cultural Center, Hong Kong (2018); and Archive Bomm, Seoul (2017). Chung was awarded the DOOSAN Arts Award in 2022 and has participated in the SeMA Nanji Residency, Seoul (2022); Sindoh Artist Support Program (2020); and MMCA Residency Goyang (2020). Her paintings and sculptures are housed in public institutions including the DOOSAN Art Centre, Seoul; Art Bank, National Museum of Modern and Contemporary Art, Seoul; Seoul Museum of Art; and Kumho Museum of Art, Seoul. Her first solo exhibition at Thaddaeus Ropac, UMBRA , was presented in the London gallery in 2024. In 2025, Chung’s work was displayed in a two-person exhibition alongside Joyul, entitled Elsewhere, Rhema, Open Torso , at the Maison Margiela Hannam Flagship, Seoul as part of their Line 2 art project. Her work is currently on show at the Centre Culturel Coréen, Paris in the group exhibition Colors of Korea: Spotlight on Contemporary Korean Art until 29 August 2026.
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VALIE EXPORT & KETTY LA ROCCA BODY SIGN 16 December 2025—28 February 2026 Markus Schinwald Interiors Inc. Until 17 January 2026 Salzburg Villa Kast Joan Miró Sculptures 21 November 2025—7 February 2026 Seoul Fort Hill Georg Baselitz & Lucio Fontana L’aurora viene Until 9 December 2025 Milan Current & upcoming exhibitions