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【余温】展览预告/双个展

 作者：本站编辑  2026-03-20 18:23:29  0

【余温】展览预告/双个展

展览时间：2026.03.23——2026.04.24

开幕时间：2026.03.23（星期一）下午5:00

策展人：Kim Min-Hee（김민희）

艺术家：Jung Yong-Soo（정용수）、Choi Ju-Yeon(최주연)

Date：2026.03.23——2026.04.24

Opening Reception：5:00pm，Mar. 23，2026（Mon.）

Curator：KimMin-Hee（김민희）

Artists：Jung Yong-Soo（정용수）、Choi Ju-Yeon(최주연)

前言perface

余温

余温，预设着亲密的关系。我们握手、贴脸、相互抚摸或依靠，在靠近彼此的呼吸中交换体温。只有在肌肤相触的距离里，我们才能感知对方的温度。温度并非单纯的物理数值，而是在“我”与“对象”的边界重叠之时所生成的关系征象。当这种身体经验被延展至情感的层面，温度便成为存在与存在之间所形成的一种关系形态。然而，即使身体分离，热度也不会立即消散。曾经交错的体温仍以余痕的方式留存在皮肤与记忆之中。余温不是未曾消失的热量，而是关系曾经存在的感知证据。它在缺席之处反而更加清晰，成为一种悄然提示：存在并未彻底断裂。

Jung Yong-Soo通过对日常存在的反复凝视，构筑起关系的密度。在他的作品中，猫并非被再现的对象，而是生活的伴侣，是与世界沟通的语言。画面上细密堆叠的毛发纹理，显露出艺术家如何在贴近与长久的注视中与对象建立关联。猫眼中映出的艺术家身影，呈现出主体与对象边界重叠的瞬间。他的创作将共同停留的时间所形成的体温，通过凝视与重复转化为感知的层次。与活着的存在之间的交感，显现为一种仍在进行中的温度。

Choi Ju-Yeon则持续探讨记忆、失落以及消逝之后的残存。由蜡与投影映射构成的形象在缓慢燃烧中显露出缺席的时间。已然离去之人的形体在崩解与变形中消散，但消逝的过程反而使关系的痕迹更加清晰。对身体解体的记录，使观者间接地经验一种缺席。曾经肌肤相触的存在，究竟是真实的对象，还是在记忆中被重构的形象？这一疑问在观看中悄然浮现。艺术家指出，即便死亡之后，存在仍在他人的记忆中持续变形与被想象。她的创作通过缺席，呈现出感知如何得以延续。余温因此超越了物理时间而存在。

本次展览正是关注这种相触之处的温度。一位艺术家感知尚未离去之存在的体温，另一位则凝视离去之后仍未冷却的温度。立于不同时间维度的两种创作，在“关系所留下的感知”这一层面相遇。余温不再是过去的残余，而是塑造当下的感知形式。

韩国与中国在长期的文化语境中，都通过关系来理解存在。个体并非孤立的实体，而是在家庭与共同体之中被定位的存在；离去者亦未必被视为完全消失。通过仪式、记忆与呼唤，关系得以以另一种方式延续。在这样的东亚感知结构中，《余温》提出一个超越个体经验的问题：即使消逝，温度是否仍然留存？即使贴近，也是否无法真正占有？余温提醒我们，在关系之中，存在从未只是出现或消失，而是在持续生成。温度因此成为关系发生的证据，也成为支撑留下之人继续生活的感知形式。

—Kim Min-Hee

Lingering Warmth

Lingering warmth presupposes intimacy. We shake hands, press our cheeks together, stroke one another, or lean against each other as we share breath. Only at such close distances—where skin meets skin—can we sense another person’s body temperature. Temperature is not merely a physical measurement; it is a sign of relation that arises when the boundary between oneself and another begins to overlap. When this bodily experience expands into the realm of emotion, warmth becomes one form through which relations between beings take shape. Yet even after bodies part, heat does not disappear at once. The warmth that once crossed between bodies lingers as a residue in the skin and in memory. Lingering warmth is not simply heat that has yet to dissipate; it is the sensory trace that testifies that a relationship once existed. It becomes clearer in the space of absence, a quiet signal that existence has not been completely severed.

Jeong Yong-Soo has built the density of relationships through a sustained gaze upon the beings of everyday life. In his work, the cat is not an object of representation but a companion in life and a language of communication. The finely layered textures of fur across the surface reveal how closely—and for how long—the artist has observed his subject. The image of the artist reflected in the cat’s eyes captures the moment when the boundary between subject and object overlaps. Through gaze and repetition, his work translates the bodily warmth formed in shared time into a sensory register. The communion with living beings emerges as warmth that remains in the present tense.

Choi Ju-Yeon has long explored memory, loss, and what persists after disappearance. Forms realized through wax and projection mapping slowly burn away, revealing the passage of absence. The figure of the departed being collapses and transforms, yet the process of its dissolution renders the trace of the relationship more visible. By recording the disintegration of the body, the work allows viewers to experience absence indirectly. It prompts the question of whether the being whose skin once touched ours has become an image reconstructed within memory. The artist suggests that even after death, existence continues to be reshaped and imagined within the memories of others. By addressing relationships with those who have already departed, her work reveals a sensory layer that persists through absence. Warmth remains beyond physical time.

This exhibition attends precisely to that point of contact called warmth. One artist senses the warmth of a being that has not yet departed, while the other gazes upon a warmth that has not cooled even after departure. Standing upon different temporal grounds, the two bodies of work meet in the sensation left behind by relationships. Warmth is not merely a residue of the past; it is a sensation that continues to shape the present.

Korea and China share cultural contexts in which existence has long been understood through relationships. The individual has been perceived less as an independent entity than as a being situated within family and community, and those who have departed have not been regarded as entirely gone. Through ritual, memory, and invocation, relationships continue in other forms. Within this East Asian sensibility, Lingering Warmth poses a question that extends beyond personal experience. The warmth that remains after disappearance, and the sense of a presence that stays beside us yet can never be fully grasped, invites us to reconsider how we live within relationships. Warmth testifies to the emergence of relation and becomes a form of sensation that sustains the lives left behind.

— Kim Min-Hee

余温

남은 온기(余温)는 친밀한 관계를 전제한다. 우리는 악수하고, 뺨을 맞대고, 서로를 쓰다듬거나 기대며 숨을 나눈다. 살과 살이 맞닿는 가까운 거리에서만 우리는 상대의 체온을 감각한다. 온도는 단순한 물리적 수치가 아니라, 나와 대상의 경계가 겹쳐질 때 발생하는 관계의 징후다. 이러한 신체적 경험을 정서의 차원으로 확장할 때, 온도는 존재와 존재 사이에 형성되는 관계의 한 형태가 된다. 그러나 몸이 떨어진 뒤에도 열은 곧바로 사라지지 않는다. 교차했던 체온은 피부와 기억 속에 잔여로 남는다. 남은 온기는 사라지지 않은 열기가 아니라, 관계가 있었음을 증명하는 감각의 흔적이다. 그것은 부재의 자리에서 더 또렷해지며, 존재가 완전히 끊어지지 않았음을 알리는 조용한 신호가 된다.

정용수는 일상의 존재를 반복적으로 응시하며 관계의 밀도를 구축해왔다. 그의 작업에서 고양이는 재현의 대상이 아니라 삶의 동반자이자 소통의 언어다. 화면에 세밀하게 쌓인 털의 결은 작가가 얼마나 가까이, 얼마나 오래 대상을 바라보았는지를 드러낸다. 고양이의 눈에 비친 작가의 모습은 주체와 대상의 경계가 겹쳐지는 순간을 보여준다. 그의 작업은 함께 머무는 시간 속에서 형성된 체온을 응시와 반복을 통해 감각의 층위로 구현한다. 살아 있는 존재와의 교감은 현재 진행형의 온기로 드러난다.

최주연은 기억과 상실, 그리고 사라진 이후의 잔존을 탐구해왔다. 왁스와 프로젝션 맵핑으로 구현된 형상은 서서히 타들어가며 부재의 시간을 드러낸다. 떠난 존재의 형상은 붕괴되고 변형되지만, 그 소멸의 과정은 오히려 관계의 흔적을 또렷하게 남긴다. 신체의 해체를 기록하는 이 작업은 관람자로 하여금 간접적인 부재를 경험하게 한다. 피부를 맞대던 존재가 기억 속에서 재구성된 이미지였는지 질문하게 만드는 것이다. 작가는 죽음 이후에도 존재가 타인의 기억 속에서 계속 변형되고 상상된다고 말한다. 이미 떠난 존재와의 관계를 다루는 그의 작업은, 부재를 통해 지속되는 감각의 층위를 보여준다. 온기는 물리적 시간을 넘어 남는다.

이번 전시 는바로 그 맞닿는 지점으로서의 온기에 주목한다. 한 작가는 아직 떠나지 않은 존재의 온기를 감각하고, 다른 작가는 떠난 이후에도 식지 않은 온기를 응시한다. 서로 다른 시간 위에 선 두 작업은 관계가 남긴 감각이라는 점에서 만난다. 온기는 과거의 잔여가 아니라 현재를 형성하는 감각이다.

한국과 중국은 관계를 통해 존재를 이해해온 문화적 맥락을 공유한다. 개인은 독립된 실체라기보다 가족과 공동체 속에서 위치 지워지는 존재로 인식되어 왔으며, 떠난 존재 또한 완전히 사라진 것으로 간주되지 않았다. 제의와 기억, 호명을 통해 관계는 다른 방식으로 지속된다. 이러한 동아시아적 감각 속에서 〈余温〉은 개인적 경험을 넘어선 질문을 던진다. 사라진 이후에도 남는 온기, 곁에 있지만 완전히 붙잡히지 않는 존재의 감각은 우리가 관계 속에서 어떻게 살아가고 있는지를 다시 생각하게 한다. 온기는 관계의 발생을 증명하며, 남겨진 삶을 지속하게 하는 감각의 형식이 된다.

—김민희

上下滑动查看英语及韩语版展览前言

Swipe up and down to view the exhibition introduction in English and Korean.

关于艺术家 About Artists

|Jung Yong-Soo（정용수) |

Jung Yong- Soo于1999年毕业于清州大学工艺学系，获得学士学位。是一位以韩国京畿道杨平为创作据点的艺术家。他的创作关注人与自然之间所形成的感知关系与情感交流。艺术家将猫设定为传达自然感受与自身内心的一个“代言者”，并通过猫的视角探索与世界建立联系的方式。他在画布、韩纸、镜子、咖啡袋等日常物件上，以铅笔、钢笔和单色丙烯颜料进行创作。同时，他在进行艺术创作的同时经营咖啡馆，关注并记录日常瞬间转化为艺术的微妙时刻。

他曾参加《2023杨平美术协会定期展——杨平的艺术家》（2023，杨平郡立美术馆）等展览，并作为扎根于当地的艺术家持续开展创作活动。

Jung Yong-Soo received his BFA in Crafts from Cheongju University in 1999.He is an artist based in Yangpyeong, Gyeonggi Province, South Korea. His work focuses on the sensory relationship and emotional resonance that emerge between humans and nature. The artist positions the cat as a “spokesperson” that conveys both the sensibility of nature and his inner voice, exploring ways of relating to the world through the perspective of the cat. He works on everyday objects such as canvas, hanji (Korean paper), mirrors, and coffee bags, using pencil, fountain pen, and monochrome acrylic paint. Alongside his artistic practice, he runs a café, paying close attention to and recording the subtle moments when everyday life transforms into art.

He has participated in exhibitions such as Yangpyeong Fine Art Association Annual Exhibition – Artists of Yangpyeong (2023, Yangpyeong Museum of Art), and continues to work as a locally based artist.

|Choi Ju-Yeon（최주연)|

Choi Ju-Yeon于2024年在国民大学研究生院立体美术专业获得博士学位。是一位以韩国首尔为创作据点的视觉与媒体艺术家。她的创作通过运用雕塑性物件的影像作品，从存在论的视角探讨存在与缺席、时间性以及消逝之物所留下的痕迹。她尤其将3D建模与投影映射等数字技术，与具有类似蜂蜡般物理质感的媒介交织运用，以此探索记忆与时间、生命与死亡之间的关系。通过这一过程，她致力于呈现实体与幻象、本质与存在之间的重叠及其间的张力与间隙。

其主要个展包括《Betwixt and Between》（2021，age_changsin）、《Neither stay nor leave》（2021，Art Space plasque）、《Remaining Face》（2019，oh!zemidong GAllery）等。2021年，她还参加了《第21届首尔国际替代影像艺术节（NeMaf）韩国新作展》的影像放映单元。

Choi Ju-Yeon received her PhD in Sculpture from the Graduate School of Kookmin University in 2024. She is a visual and media artist based in Seoul, South Korea. Her work explores presence and absence, temporality, and the traces left by disappearing things from an ontological perspective through video works incorporating sculptural objects. In particular, she juxtaposes digital technologies such as 3D modeling and projection mapping with materials that possess physical textures similar to wax, investigating the relationships between memory and time, as well as life and death. Through this process, she focuses on visualizing the overlaps and tensions between reality and illusion, essence and existence.

Her major solo exhibitions include Betwixt and Between (2021, age_changsin), Neither stay nor leave (2021, Art Space plasque), and Remaining Face (2019, oh!zemidong GAllery). In 2021, she also participated in the screening section of the 21st Seoul International ALT Cinema & Media Art festival (NeMaf) – Korean Shorts.

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