curatorial essays, exhibition forewords, reviews
“There Is No Ground That Is Not a Grave: On The Ghost Project 2024”
This essay serves as a postscript to the founding of the ghost project, reflecting on the failures, unrecorded moments, and invisible presences that shaped its 2024 activities. Based on the conceptual and practical foundations of…
“The Blue Trash Can Theory” in The Center Lies on the Outside: Rirkrit Tiravanija and the Art of Noji, Croma Editions, 2025 （EN＆KR）
This essay examines the relationship between care and artistic practice, is featured in The Center Lies on the Outside: Rirkrit Tiravanija and the Art of Noji (English edition coming in Sep 2025), a book that…
Who Made Luch Cry — Foreword to Woopsyang’s solo exhibition (KR)
This text is the exhibition foreword for Who Made Lucy Cry, a solo exhibition by artist Woopsyang. Known for her participatory performance Space-Out Competition, the artist connects the emotions of anxiety, avoidance, and creation in contemporary…
Curator on Curator | Experiments for Conviviality: SUMITOMO Fumihiko and CHO Hyesu (EN)
Iron Velvet, a New York-based art gallery focused on diasporic Asian artistic practices, presents the Curator on Curator series—pairing renowned curators with emerging voices to reflect on the current and future possibilities of curatorial practice. In this…
“From Intersecting Landscapes” Review of Korean Painting and East Asian Painting (KR, JP)
This text is a review of the exhibition “Korean Painting and East Asian Painting” held in Seoul, Korea and Tokyo, Japan. It critically reflects on the origin and present condition of the term “Korean painting,” and…
“Muse : [ ] : Muse” Review of Be-Muse: Wind and Unwind
This is a review of Be-Muse: Wind and Unwind, a two-person exhibition by visual artist Yujin Lee and performance artist Ahra Jo. Through their relational and collaborative art, the artists become each other’s muse, embracing…
Cho Hyesu 조혜수 チョ・ヘス 