The installation view of the exhibition, Courtesy of Space22
Space 22 in Gangnam presents Lee Se Hyun: Blue Face, Red Night, a solo exhibition running from November 24 to December 11, 2024. This exhibition marks a significant chapter in the artist's exploration of Korea’s historical landscapes, presenting over 30 new photographic works that breathe life into forgotten, abandoned, and historically charged spaces. An opening reception will be held on November 23 at 5 PM.
Lee Se Hyun, a visual artist known for addressing modern and contemporary Korean history through photography, approaches her work as a "detective of history." She meticulously uncovers overlooked fragments of the past, piecing together narratives to reveal the untold stories embedded in historical locations. Her practice revolves around active engagement with these spaces, capturing their essence and transforming their narratives into vivid photographic images.
The installation view of the exhibition, Courtesy of Space22
The exhibition centers on historically significant yet largely overlooked sites, such as the former Gwangju 505 Security Forces Detention Center, Jeongbang Falls, the Gyeongsan Cobalt Mine, and the No Gun Ri twin tunnels. Each of these locations is steeped in history—sites of colonial exploitation, wartime tragedy, or socio-political upheaval. Lee uses these spaces as canvases, introducing colorful lighting installations to reinvigorate their lifeless environments. Her photographic process, which includes light painting, turns these forgotten places into radiant, almost otherworldly visions, symbolizing both memory and renewal.
One of the standout works in the exhibition is Okmae Mine. This former Japanese military resource site, developed in 1924 during the colonial period, represents a dark chapter in Korea’s history, marked by forced labor and exploitation. Through her lens, Lee transforms this abandoned space into a vivid tableau, where light disrupts the decay, invoking both the pain and resilience of its history. Another poignant work, Blue Face, Red Night, revisits the Gyeongsan Cobalt Mine, the site of mass civilian executions during the Korean War. Here, light and shadow intermingle to create a haunting meditation on violence and remembrance.
The installation view of the exhibition, Courtesy of Space22
Lee’s process involves more than just documentation. She intervenes in these spaces, installing lights and capturing suspended objects like stones or dust, imbuing her photographs with a dynamic sense of temporality. These interventions turn the ruins into memorials, encouraging viewers to engage with the layered histories they represent. As Lee explains, "Like turning on the lights after a long journey home, I aim to awaken these spaces, inviting them back into the present for people to remember and reflect upon."
The artist’s practice highlights photography’s ability to bridge past and present. The medium’s inherent temporal realism allows her to address the weight of historical events while simultaneously experimenting with how these narratives are visually constructed. The exhibition’s title, Blue Face, Red Night, reflects this duality: the tension between the serenity of forgotten places and the turmoil of their buried histories.
The installation view of the exhibition, Courtesy of Space22
Space 22 selected Lee for its 2024 sharing project, underscoring the gallery’s commitment to supporting artists who address vital cultural and historical themes. Lee’s works have garnered recognition at major events such as the Gwangju Biennale Pavilion, where her pieces received widespread acclaim for their poetic and thought-provoking approach to historical memory.
Through this exhibition, Lee continues her ongoing exploration of how historical places shape collective memory. Her works invite viewers to look beyond the surface of abandoned spaces, reading their stories as one would read a book. By doing so, she transforms sites of trauma into spaces of reflection and dialogue, urging contemporary audiences to confront history not as a distant past, but as an integral part of the present.
The poster of the exhibition, Courtesy of Space22
Sayart / Maria Kim, sayart2022@gmail.com
The installation view of the exhibition, Courtesy of Space22
Space 22 in Gangnam presents Lee Se Hyun: Blue Face, Red Night, a solo exhibition running from November 24 to December 11, 2024. This exhibition marks a significant chapter in the artist's exploration of Korea’s historical landscapes, presenting over 30 new photographic works that breathe life into forgotten, abandoned, and historically charged spaces. An opening reception will be held on November 23 at 5 PM.
Lee Se Hyun, a visual artist known for addressing modern and contemporary Korean history through photography, approaches her work as a "detective of history." She meticulously uncovers overlooked fragments of the past, piecing together narratives to reveal the untold stories embedded in historical locations. Her practice revolves around active engagement with these spaces, capturing their essence and transforming their narratives into vivid photographic images.
The installation view of the exhibition, Courtesy of Space22
The exhibition centers on historically significant yet largely overlooked sites, such as the former Gwangju 505 Security Forces Detention Center, Jeongbang Falls, the Gyeongsan Cobalt Mine, and the No Gun Ri twin tunnels. Each of these locations is steeped in history—sites of colonial exploitation, wartime tragedy, or socio-political upheaval. Lee uses these spaces as canvases, introducing colorful lighting installations to reinvigorate their lifeless environments. Her photographic process, which includes light painting, turns these forgotten places into radiant, almost otherworldly visions, symbolizing both memory and renewal.
One of the standout works in the exhibition is Okmae Mine. This former Japanese military resource site, developed in 1924 during the colonial period, represents a dark chapter in Korea’s history, marked by forced labor and exploitation. Through her lens, Lee transforms this abandoned space into a vivid tableau, where light disrupts the decay, invoking both the pain and resilience of its history. Another poignant work, Blue Face, Red Night, revisits the Gyeongsan Cobalt Mine, the site of mass civilian executions during the Korean War. Here, light and shadow intermingle to create a haunting meditation on violence and remembrance.
The installation view of the exhibition, Courtesy of Space22
Lee’s process involves more than just documentation. She intervenes in these spaces, installing lights and capturing suspended objects like stones or dust, imbuing her photographs with a dynamic sense of temporality. These interventions turn the ruins into memorials, encouraging viewers to engage with the layered histories they represent. As Lee explains, "Like turning on the lights after a long journey home, I aim to awaken these spaces, inviting them back into the present for people to remember and reflect upon."
The artist’s practice highlights photography’s ability to bridge past and present. The medium’s inherent temporal realism allows her to address the weight of historical events while simultaneously experimenting with how these narratives are visually constructed. The exhibition’s title, Blue Face, Red Night, reflects this duality: the tension between the serenity of forgotten places and the turmoil of their buried histories.
The installation view of the exhibition, Courtesy of Space22
Space 22 selected Lee for its 2024 sharing project, underscoring the gallery’s commitment to supporting artists who address vital cultural and historical themes. Lee’s works have garnered recognition at major events such as the Gwangju Biennale Pavilion, where her pieces received widespread acclaim for their poetic and thought-provoking approach to historical memory.
Through this exhibition, Lee continues her ongoing exploration of how historical places shape collective memory. Her works invite viewers to look beyond the surface of abandoned spaces, reading their stories as one would read a book. By doing so, she transforms sites of trauma into spaces of reflection and dialogue, urging contemporary audiences to confront history not as a distant past, but as an integral part of the present.
