Min Jung-Yeon

Dawn after night

Min Jung-Yeon

13. 03. – 09. 05. 2020

Must one dive into obscurity to know, embrace, and finally be able to (re)capture the light? That is what Min Jung-Yeon seems to suggest with the title of her new show : L’aube après la nuit (Dawn after night).

In her latest works on paper, colour is much more present: subtle yet undeniable lights. The traces of large paintbrush gestures hold an important place – like a liberation, a new breath. One can recognize the impulse of certain calligraphers.

Pluto’s letter

Min Jung-Yeon

06.03. – 28.04.2018

In 2006, Pluto was excluded from the solar system and was downgraded to the status of “dwarf planet” because of its mass and its volume, both too little, and a “deviant” trajectory. The first images of Pluto sent by the New Horizons probe (2015) revealed a surface partly covered in methane and nitrogen ice, which, at one spot, was shaped like a heart. Min Jung-Yeon was inspired by the symbolism of this rejection of a small different planet with a heart of ice. Thus, Pluto’s letter explores the notion of reconciliation with loss, integration of what escapes our understanding, of other viewpoints and assessments.

Musée Guimet

Carte Blanche to Min Jung-Yeon

06.11.2019 – 17.02.2020

This new contemporary Carte Blanche, entrusted to the Korean artist MIN Jung-yeon, presents an immersive and organic installation specifically created for the MNAAG. Inspired by the reality of a country split in two for the past 65 years and the idea of reconciliation, the installation consists of large-format drawings and birch trunks drawn on paper.
Like a huge kaleidoscope, the plays of mirrors offer the eye a subtle superimposed interweaving. Her philosophical approach to time, memory, and space arises from the harmonious blending of the organic with fluidity.

Musée d’art moderne et contemporain, Saint-Etienne Métropole

Demander le chemin à mes chaussures

Min Jung-Yeon

23. 06 – 30. 09. 2012

“Vanishing lines that taper off into infinity, organic-looking forms suspended in space, unnameable strange clusters that refer to nothing or very little, then suddenly a perfectly identifiable element.
[…] In both her paintings and her drawings, Jung-Yeon Min’s work is full of a strange world that mixes biological, plant, animal and human references to inform an aesthetic in which the body, if it is not explicit, acts notably as a liberating medium of the creative act, a substitute for excessive control and for stopping breathing.” Philippe Piguet in Min Jung-Yeon, Demander le chemin à mes chaussures, MAMC+ Saint-Etienne Métropole, 2012.