Exhibition information page
English / 한국어
*2023년 이후에도 이어지는 본 전시의 궤적은 페이지 하단에서 보실 수 있습니다.
You can follow the ongoing trajectory of this exhibition at the bottom of the page.
2023.9.8 Fri – 10.9 Mon
13:00-19:00 (Close: Tue and Wed)
Admission fee / Free
Artist: Dohee Kim, Yujin Lee
Venue : OVERGROUND (Fukuoka, Japan)
Host: Korean Foundation for International Cultural Exchange (KOFICE) l OVERGROUND
Support: Ministry of Culture, Sports and Tourism l Korea Sports Promotion Foundation
Organization: CHO Hyesu
About Exhibition
若手キュレーターによるOVERGROUNDでの展覧会プロジェクト「Curator’s Exhibition」。本展は福岡と韓国の釜山・ 済州をつなぐ企画として、韓国、日本、中国出身の3人（Hyesu Cho、Naoko Tanaka、Qiuyu Jin）から構成されたチーム「EAG」 がキュレーションを行いました。
釜山出身のチョ・ヘス(Hyesu Cho）がメインキュレーターを務め、故郷の文化的背景をもとに、韓国の食文化のベースである特有のサイクルや交流に焦点を当てます。
博多港から釜山港までは旅客船で3時間程度で、九州地方と朝鮮半島の交流の歴史は今から1500年前から続いて来ました。「食」においても、類似性を持つ食べ物も存在し、これらは戦争や移住などの歴史を経て、今の生活の中に溶け込んでいます。「食」は私たち人間の身体に溶け込んでいる物語と言えるでしょう。人間の根源的な欲求や個人のアイデンティティと密接な関係を結び、さらに生活、文化、社会、経済に不可欠な要素です。
タイトルにある「プオク(부엌)」は、「火（プr/불）」の発音が変化し、現在においては「台所」を意味します。「シック(食口/식구)」は、家族、または血縁関係でなくても一つ屋根の下で過ごし一緒に食事をする間柄を指し、出身や立場に関係なく、食事を共にすることで、家族になれるという意味が込められています。
The “Curator’s Exhibition” is an exhibition project at OVERGROUND led by emerging curators. This edition was curated by “EAG,” a team composed of three members from South Korea, Japan, and China—Hyesu Cho, Naoko Tanaka, and Qiuyu Jin—as a cross-regional initiative connecting Fukuoka with Busan and Jeju in South Korea.
Hyesu Cho, a curator from Busan, served as the main curator of the exhibition. Drawing on the cultural background of her hometown, she focuses on the unique cycles and forms of communal exchange that underpin Korean food culture.
It takes just three hours by ferry to travel from Hakata Port to Busan Port. The Kyushu region and the Korean Peninsula have shared a history of exchange for over 1,500 years. In terms of food, many dishes share similarities, shaped by histories of war, migration, and everyday life. Food can be seen as a form of storytelling that becomes part of our very bodies. It is deeply tied to fundamental human desires, individual identities, and is essential to our lives, cultures, societies, and economies.
The Korean word “Puok (부엌),” featured in the exhibition title, originally derived from “pul (불),” meaning fire, and today refers to the kitchen. “Sikgu (食口 / 식구)” literally means “mouths to feed,” but culturally it refers to people who share meals under the same roof. Even without blood ties, those who eat together can become family—a notion central to this exhibition.
＊ As a small exchange with visitors in the concepts of food, Yujin Lee will prepare Jeju tea. As an environmental consideration, the tea will be offered only to those who bring their bottle or cup. (Ends as soon as it runs out).
[Talk with Exhibition Tour] 9.8. Fri 19:30
[Audience Participatory Performance]
① Dohee Kim 《サンヨノリの祈願(喪輿遊びの祈願) / 상여놀이 축원 Sangyeonori Prayer》 (2023)：9.24 Sun 18:00
② Yujin Lee 《人生は（チョコレートの箱または）お弁当みたいだ / Life is like a (Box of Chocolates or) Bento》(2023)
9.23 Sat 13:00 / 9.24 Sun 13:00 / 9.25 Mon 18:00
Numbers are limited for each session.
Artsts
Dohee Kim キム・ドヒ 김도희 (b.1979)
https://www.instagram.com/doheekim_art
人間の有機体的な特性と原始的な物質感覚の関係をベースに、存在の意味を探求し、生命感覚を拡張する制作をしている。ほとんどの制作は、対象に対する直接的な経験から出発し、触覚的、嗅覚的刺激や振動、労働などを通して、身体とのかかわりを重視しながら、鮮やかな鑑賞体験へと広げていく。物質の状態が変化し、生き生きとする「生命の場」を経験として伝えるために、陰と陽、生と死、自己と他者など、相対的概念が持つ暫定的な特徴をダイナミックに表現する。その手法は、インスタレーション、写真、ビデオ、パフォーマンスなど様々で、極めて個人的で内密な制作から社会的なコラボレーションまで多岐に渡る。経験主義美術ジャーナル『ttheol』を発行し、編集長としても活動している。
本展では、韓国の「サンヨ（喪輿/상여）」（棺を運ぶ伝統的な御輿）と福岡の「屋台」から着想を得た日韓の生死の文化が出会うインスタレーションを発表。食べることと同様に、死は誰にでも訪れ、エネルギーの循環を生み出すものである。本作は、作家の故郷であり、近代日本との関係性を持つ釜山影島（ヨンド）の物語を通して、「生死」と「食」を効果的に結びつける。
Dohee Kim’s practice is rooted in the organic nature of the human body and primitive material sensibilities, through which she explores the meaning of existence and seeks to expand the perception of life. Her work often begins with direct, physical experiences of her subject, placing emphasis on the body’s engagement through tactile and olfactory stimuli, vibrations, and labor. These embodied processes unfold into vivid experiential encounters for the viewer.
By expressing the dynamic interplay of relative concepts—such as yin and yang, life and death, self and other—she conveys transformative “life spaces” where materials shift and come alive. Her practice spans installation, photography, video, and performance, ranging from highly personal and introspective pieces to socially collaborative projects. She is also the editor-in-chief of ttheol, a journal of experiential art.
For this exhibition, Kim presents an installation inspired by the Korean Sang-yeo (喪輿 / 상여), a traditional bier for carrying coffins, and Fukuoka’s iconic food stalls (yatai), bringing together the life and death cultures of Korea and Japan. Like eating, death is a universal experience—one that facilitates the circulation of energy. Drawing on stories from Yeongdo, her hometown in Busan and a historically significant site in Korea-Japan relations, the work compellingly interweaves the themes of life, death, and food.
Yujin Lee イ・ユジン 이유진 (b.1986)
https://jejuanarchist.com
地域のアイデンティティやコミュニティの形成について考察しながら「関係性の美学(Relational Aesthetics)」を実践するビジュアルアーティスト、コラボレーター。米国コーネル大学美術学部でBFA、コロンビア大学芸術大学院でビジュアルアートのMFAを取得。2018年にニューヨークから韓国の済州島に移り住み、古い農家を購入し、住居兼スタジオ「Next Door to the Museum」としてオープンさせた。畑、鶏や犬もいる質素な田舎の家を舞台に、国内外のアーティスト達が、生活とアートの表裏一体関係やエコロジー思想の文脈における創作活動ができるユニークなアーティスト・レジデンスを運営している。
本展では、作家が人々と対話をしながら一緒に絵を描く《ペインティング・カンバセーション（Painting Conversation）》シリーズを中心に構成される。今回は「ご飯泥棒（ご飯が進むおかず）」をテーマに、済州の移住者の友人たち、そして福岡で新たに出会った人々と《ペインティング・カンバセーション：ご飯泥棒物語》を行った。本作はテーブルマットとなり、10メートルに及ぶテーブルクロス作品とともに展示される。また、済州と福岡のペインティング・カンバセーションの参加者の声を使ったサウンドインスタレーションや、参加者が共有してくれた「プオク/台所」に関するモノやレシピも公開。
A visual artist and collaborator, Yujin Lee engages in the practice of “relational aesthetics” while exploring themes of regional identity and the formation of community. She holds a BFA from Cornell University and an MFA in Visual Arts from Columbia University. In 2018, she relocated from New York to Jeju Island, South Korea, where she purchased an old farmhouse and transformed it into a combined home and studio called Next Door to the Museum. Surrounded by a simple rural setting—with a vegetable garden, chickens, and dogs—she runs a unique artist residency that invites both local and international artists to explore the inseparable relationship between life and art, and to create within the context of ecological thought.
For this exhibition, the artist presents her ongoing Painting Conversation series, in which she engages in conversations with people while painting together. This edition, titled Painting Conversation: Stories of Rice Thieves (a Korean expression for side dishes so good they “steal rice”), was created through dialogues with migrant friends in Jeju and new acquaintances in Fukuoka. The resulting works take the form of placemats, and are displayed alongside a 10-meter-long tablecloth installation. The exhibition also features a sound installation using the voices of Painting Conversation participants from both Jeju and Fukuoka, as well as a collection of personal objects and recipes related to “Puok” (kitchen) that were shared by participants.
Making Archivie
《家は夢としてしか存在しない》 （Home only exists as a dream) by Yongha James Hwang
2023, Single-channel (color, sound), loop
+ 2024 updated
김도희 작가와 방지원 상여소리꾼이 2024년 수림문화재단에서의 전시 「송신(送信, Footsteps)」에서 일본에서 제작된 작품을 다시금 선보였습니다.
Artist Dohee Kim and sangyeo singer Jiweon Bang re-presented a work originally created in Japan as part of the 2024 exhibition Footsteps (송신) at the Surim Cultural Foundation.
수림문화재단 「송신(送信, Footsteps)」 전시 정보
기간 2024.02.07(수) – 2024.02.29 (목) / 장소 수림큐브 / 시간 월~토요일, 12시~18시 (일요일, 공휴일 휴관) / 주최 수림문화재단
전시개요
근래에 해외 레지던시 입주 활동을 마치고 돌아온 3인(팀)의 작가, 김도희X방지원, 이승연, 전보경 작가의 근작을 재구성하여 선보이는 그룹 전시. 국내 미발표된 작품을 위주로 선보일 예정으로, 작가들이 이국에서 받은 작업 활동에 대한 영감과 결과물을 수림큐브의 여섯 개 전시장으로 송신하여 관객이 그 발자취(footsteps)를 따라 작품을 감상하는 흐름을 마련해 본다.
김도희는 후쿠오카에서 야타이(屋台)를 발견했다. 야타이는 일본식 포장마차로, 에도 시대부터 성행하다가 위생 문제와 도시 미관을 해친다는 이유로 빠르게 사라졌다. 그중 후쿠오카는 예외적으로 대규모 야타이 영업 허가를 받은 도시인데, 작가는 그 이유가 2차 세계대전 후 가장이 된 여성들이 야타이 운영으로 생계를 이어온 역사를 존중하기 때문이라고 설명한다. 작가는 야타이 구조에 한국의 상여(관을 운반하는 전통 가마)를 결합해 먹는 행위(生)와 장례 행위(死)가 우위 없이 수평적으로 만나도록 제작했다. 이원론으로 나뉜 개념들이 결국은 순환하며 연결된다는 뜻을 담은 것이다. 그렇게 등장하게 된 <김명태 승천기: 상여 야타이 놀이>는 화려한 종이꽃으로 장식한, 故김명태의 승천을 주관하는 상여와 포장마차의 특징인 삶의 소란함이 함께 제시됐다.
방지원은 동해안별신굿의 화랭이로 이 제의적 놀이에 요령잡이이자 상여소리꾼으로 참여했다. 그는 생과 사의 구분을 의도적으로 교차시킨 자리에 상엿소리를 선창하며 잔치 같은 추모 판을 만들었다. 그리고 김도희와 방지원은 한국에서 다시 만나 음력의 첫 번째 달인 정월에 열리는 본 전시에서 협업을 진행한다. 먼저 전시 공간을 겨울과 봄, 음과 양으로 팽창시키고 시간의 흐름이 있는 공간으로 상정하여 지하 전시장과 지상층을 동그랗게 연결해 <김명태 승천기>를 정월과 연계한 개별 작품으로 다시금 선보인다 사라져가는 소리를 보존하기 위해 수집한 징과 여타의 것을 포함한 총 13개의 징이 설치 작업을 제시한다. 열두 달, 그리고 윤달을 상징하는 <달 울리기>라는 제목의 이 작품은 관객이 직접 두드려 보며 배음을 느낄 수 있도록 준비됐다. 이들이 재현하는 세시풍속은 현실을 구성하는 다양한 방식과 믿음을 환기한다.
+ 2025 updated
I contributed an essay to the book The Center Lies on the Outside: Rirkrit Tiravanija and the Art of Noji , which weaves together the artistic thoughts and practices of Rirkrit Tiravanija and Yoojin Lee. The essay includes a discussion of Kitchen across the Ocean: SIKGU.
리크릿 티라바닛과 이유진의 예술에 관한 생각과 실천적인 삶의 이야기를 엮은 책 『바깥으로: 리크릿 티라바닛과 노지爐址의 미학』에 《바다를 건너는 부엌: 식구》에 대한 이야기를 포함하는 글을 발표하였습니다.
Cho Hyesu 조혜수 チョ・ヘス 