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Jiwon Yoo, Yeonsinnae (R.L.A.)
Yeonsinnae station, Seoul, S. Korea

London, UK

Brief CV

Working in London and Seoul.

2022.    Korea National University of Arts; BFA Fine Art, (Seoul, KR). 

2024.    Goldsmiths, University of London; MFA Fine Arts, (London, UK).

Solo Exhibitions

2022.    Kiwi & Yeonsinnae, Space Route (Seoul, KR).


2024.    Cosmic Ecologies, MetaMorphika, (London, UK).

2023.    Entwined intimacies. hARTslane (London, UK).
2023.    Taste the Difference. Hypha (London, UK).

2022.    The very first Cyborg, Gallery175 (Seoul, KR) with Kim Iver, Park Youngmin & Jeong Taewan.

2021.    WESS Exhibition and Publication, Exhibition Space WESS (Seoul, KR).

2021.    아포칼립스 모으기 : Collecting Apocalypse, Gallery175 (Seoul, KR) with Yeonjae Gim.


             Collecting Apocalypse, Yoojiwon & Yeonjae Gim, Indie-Publishing with Gallery175 (2021 | Seoul): 192 pages 

             Deer, nowhere figure - the way to maintain the Metal object, Yoojiwon, Publishing House Samin (2018 | Seoul): 126 pages, ISBN 978-89-6436-148-1

간단한 연혁

서울과 런던에서 작업 중

2022.   한국예술종합학교 조형예술과 예술사 졸업

2024.   골드스미스 MFA Fine Art 졸업



2022.   <<키위와 연신내>>, 공간 루트, 서울.


2024.   <<Cosmic Ecologies>>, MetaMorphika, 런던.

2023.   <<Entwined intimacies>>, hARTslane, 런던.

2023.   <<Taste the Difference>>, Hypha, 런던.

2022.   <<가장 오래된 사이보그>>, 갤러리175, 서울, 김이베 박영민 정태완과. 

2021.   <<WESS 전시후도록>>, WESS, 서울

2021.   <<아포칼립스 모으기 : Collecting Apocalypse>>, 갤러리175, 서울, 김연재와. 


             ⌜Collecting Apocalypse⌟ 유지원 & 김연재,  갤러리175, p.192, 2021.

             ⌜사슴, 아무 데도 없는 형상 - 철제 오브제가 지속되기 위한 방식에 대하여⌟, 유지원,  삼인, p. 126, 2018. ISBN 978-89-6436-148-1

Bio or Artist's statement

Diverse things surrounding us are often forgotten without showing their own potential as if many artworks disappear without stepping into the spotlight. Now, I am documenting the things fading away socially or aesthetically in writing and painting while hoping my recordings affect the survival of many works that are dying out. I have been working on the scale of projects that research each specific object, such as a Model-Kiwi, the Metal object, office supplies, and plastic. The documents in the projects aim to discover the contemporary historical significance of socially dying things and, consequently, to find what efforts in painting can support them to survive. In particular, the research for recording focuses on how things were connected to the surrounding environment and other entities since it is considered that their relationships would be the only clue to infer the position or situation of things from a human point of view. Based on what role things are playing in what context, I am studying how to explore a new relationship for things' living through my recording activities. 


In the process of researching and documenting various things, a subject constantly paid attention to is plastic, the representative material of contemporary life. Nowadays, plastic is regulated because of an environmental problem. Nonetheless, it is true that most things people touch in their lives are plastic-based, from water bottles to sofas and wall paint. Also, plastic is gradually replacing many materials in contemporary art. Acrylic paints, brushes, and polycarbonate panels I use to paint are all plastic. I expect that plastic can be alive as an art material and subject with its intrinsic aesthetic qualities and that the salvation of plastic representing everyday life will be the salvation of dying objects. Accordingly, through the study of the precarious plasticity of plastic and the recording method able to be derived from its feature, the relationship to help the survival of other things with vulnerable plasticity is being sought.


In the MFA Fine Art course of Goldsmiths, University of London, I am currently studying the method of documenting things from the point of view of things and participated in group exhibitions Entwined Intimacies (2023) and Taste the Difference (2023) with the project called My Little Printer within the same research purpose. Also, During my undergraduate studies at the Korea National University of Arts, I studied the method of visualising relational aesthetics around things through painting and listing. Under this theme, I held a solo exhibition, Kiwi and Yeonsinnae (2022) and had opportunities to curate Collecting Apocalypse (2021) and The very first Cyborg (2022) by winning Awards from The School of Visual Arts Contests (2021, 2022). In addition, I published Deer, nowhere figure (2018) and Collecting Apocalypse (2021) and participated in the WESS Exhibition and Publication (2021) as the co-author of the Collecting Apocalypse (2021).

1st Oct. 2023

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