SEOUL — “We use light to reveal other things. But I want to reveal the light itself.” So said James Turrell, the American master of light and perception, at a press conference on June 11 in Seoul, ahead of his highly anticipated solo exhibition The Return, opening June 14 at Pace Gallery in Hannam-dong.
This marks Turrell’s first solo show in Korea in 17 years since his multi-venue exhibitions in Seoul in 2008. Spanning all three floors of Pace Seoul, The Return features five major light installations, including a brand-new Wedgework created in 2024—presented to the public for the first time.
“In art history, many have depicted light. But I wanted to work with light itself,” Turrell said. “You can carve wood, mold clay, weld steel—but how do you shape light? I began in 1967 by projecting it. Back then it was neon and resistors, but now, with LEDs and computers, I can achieve things I once only imagined. I'm fortunate to have lived long enough to see these technologies emerge.”
James Turrell responding to a reporter’s question during the press conference. (Maria Kim)
Turrell’s Wedgework immerses viewers in a dark room where planes of light cross each other, creating the sensation that the space extends beyond its physical boundaries. Also on view are four works from his Glassworks series—two curved glass pieces, a circular glass installation, and a diamond-shaped one—all presenting subtly shifting hues and seemingly infinite depth.
“Some people feel dizzy when viewing my work,” Turrell admitted. “But this disorientation is actually a way of understanding how we perceive the world. Being in a space without a horizon can paradoxically open up a new horizon. My works invite you to dwell in that unfamiliarity.”
The exhibition also highlights Roden Crater, Turrell’s life-long project in Arizona’s Painted Desert. Initiated in 1977, the endeavor transforms a 400,000-year-old volcanic crater into a naked-eye observatory with 24 planned sky-viewing chambers and six tunnels. Six chambers have been completed to date. The Seoul show includes aerial photographs, models, and architectural plans related to the site.
Reflecting on the cultural rise of Korea, Turrell remarked, “Korea may now be the strongest cultural force in Asia. From K-pop to classical musicians, artists here are pushing boundaries globally.”
Admission to the exhibition is free but requires advance reservation via Naver. In accordance with the artist’s wishes, photography is strictly prohibited, and all Saturday time slots through mid-August are already fully booked.
Sayart / Maria Kim sayart2022@gmail.com
James Turrell opens first solo exhibition in Korea in 17 years at Pace Gallery Seoul
SEOUL — “We use light to reveal other things. But I want to reveal the light itself.” So said James Turrell, the American master of light and perception, at a press conference on June 11 in Seoul, ahead of his highly anticipated solo exhibition The Return, opening June 14 at Pace Gallery in Hannam-dong.
This marks Turrell’s first solo show in Korea in 17 years since his multi-venue exhibitions in Seoul in 2008. Spanning all three floors of Pace Seoul, The Return features five major light installations, including a brand-new Wedgework created in 2024—presented to the public for the first time.
“In art history, many have depicted light. But I wanted to work with light itself,” Turrell said. “You can carve wood, mold clay, weld steel—but how do you shape light? I began in 1967 by projecting it. Back then it was neon and resistors, but now, with LEDs and computers, I can achieve things I once only imagined. I'm fortunate to have lived long enough to see these technologies emerge.”
James Turrell responding to a reporter’s question during the press conference. (Maria Kim)
Turrell’s Wedgework immerses viewers in a dark room where planes of light cross each other, creating the sensation that the space extends beyond its physical boundaries. Also on view are four works from his Glassworks series—two curved glass pieces, a circular glass installation, and a diamond-shaped one—all presenting subtly shifting hues and seemingly infinite depth.
“Some people feel dizzy when viewing my work,” Turrell admitted. “But this disorientation is actually a way of understanding how we perceive the world. Being in a space without a horizon can paradoxically open up a new horizon. My works invite you to dwell in that unfamiliarity.”
The exhibition also highlights Roden Crater, Turrell’s life-long project in Arizona’s Painted Desert. Initiated in 1977, the endeavor transforms a 400,000-year-old volcanic crater into a naked-eye observatory with 24 planned sky-viewing chambers and six tunnels. Six chambers have been completed to date. The Seoul show includes aerial photographs, models, and architectural plans related to the site.
Reflecting on the cultural rise of Korea, Turrell remarked, “Korea may now be the strongest cultural force in Asia. From K-pop to classical musicians, artists here are pushing boundaries globally.”
Admission to the exhibition is free but requires advance reservation via Naver. In accordance with the artist’s wishes, photography is strictly prohibited, and all Saturday time slots through mid-August are already fully booked.
