Feb. 21, 2026 Shower, Seoul, Korea, group exhibition, “No More Play III”; with Dahwan Ghim × Mary J. Yang, Hyein Min, Leesop Cho

installation view; No More Play III; 2026; Shower, Seoul, Korea; group exhibition; courtesy of Shower; photo: Joseph Lee

installation view; No More Play III; 2026; Shower, Seoul, Korea; group exhibition; courtesy of Shower; photo: Joseph Lee

installation view; No More Play III; 2026; Shower, Seoul, Korea; group exhibition; courtesy of Shower; photo: Joseph Lee

Yonsok YI; Little Effie’s Head; 2026; colored pencil on canvas; oil on black canvas; 30 × 40 cm each (2 canvases); courtesy of the artist and Shower; photo: Joseph Lee

Yonsok YI; Grand emotions unrelated to mundane lives; 2026; acrylic mirror, plywood, screws, washers; 244 × 122 cm each (7 panels); courtesy of the artist and Shower; photo: Joseph Lee

Dec. 27, 2025 Ewha Womans University Emerson Chapel, Seoul, Korea, performance by Tomyeong Lee, “실습 교생 정원사”; scenography, featuring works

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Yonsok YI; Scenography for the Gardener; 2025; scenography for “실습 교생 정원사” (performance by Tomyeong Lee); Ewha Womans University Emerson Chapel, Seoul, Korea; courtesy of the artists; photo: Terri Kim

Jul. 19, 2025 Whistle & Shower, Seoul, Korea, group exhibition, “Rooms of Convergence”; with dpgp78, Leesop CHO, Yuki GRAY, Magnus Peterson HORNER, Yelim KI, Kyoungtae KIM, Taeyoon KIM, Jookyung LEE, Jeman SEO

installation view; Rooms of Convergence; 2025; Whistle, Seoul, Korea; group exhibition; courtesy of Whistle; photo: Ian Yang

installation view; Rooms of Convergence; 2025; Whistle, Seoul, Korea; group exhibition; courtesy of Whistle; photo: Ian Yang

installation view; Rooms of Convergence; 2025; Whistle, Seoul, Korea; group exhibition; courtesy of Whistle; photo: Ian Yang

Yonsok YI; Gilded Script (Bonds with Blots); 2021; oil on paper, wood panel, brass nails, and acrylic polymer; 23 × 16 × 3 cm; courtesy of the artist; photo: Joseph L

Yonsok YI; 거울판 Kagami-ita; 2025; oil on black canvas; 73.5 × 91.5 × 5 cm; courtesy of the artist; photo: Joseph Lee

installation view; Rooms of Convergence; 2025; Shower, Seoul, Korea; group exhibition; courtesy of Shower; photo: Ian Yang

installation view; Rooms of Convergence; 2025; Shower, Seoul, Korea; group exhibition; courtesy of Shower; photo: Ian Yang

Yonsok YI; 거울판 Kagami-ita; 2025; oil on black canvas; 73.5 × 91.5 × 5 cm; detail; courtesy of the artist; photo: Joseph Lee

Yonsok YI; 거울판 Kagami-ita; 2025; oil on black canvas; 73.5 × 91.5 × 5 cm; detail; courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2517; 2023, 2025; oil, acrylic polymer, and phosphorescent pigment on wood panel; 28 × 28 × 4.2 cm (× 4), 14 × 14 × 4.2 cm (× 2), 14 × 14 × 2.7 cm (× 1) (7 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2517; 2023, 2025; oil, acrylic polymer, and phosphorescent pigment on wood panel; 14 × 14 × 2.7 cm each (5 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; 섬전암 Fulgurite; 2022; oil and acrylic polymer on wood panel; 14 × 14 × 2 cm; courtesy of the artist

Yonsok YI; 함 Korean Wedding Chest; 2023; oil, acrylic polymer, and phosphorescent pigment on wood panel; 20 × 20 × 4.2 cm; courtesy of the artist

Yonsok YI; Reciter’s Tongue; 2022; oil and acrylic polymer on wood panel; 14 × 14 × 2.7 cm; installation view, Eyes Far Lips Act.2, 2023; courtesy of the artist; photo: uma shin

Yonsok YI; Bonds with Blots; 2021; digital scan (TIFF), from a Late Night Special (2021–present); courtesy of the artist

Yonsok YI; 섬전암 Fulgurite; 2022; digital scan (TIFF), from a Late Night Special (2021–present); courtesy of the artist

Yonsok YI; 함 Korean Wedding Chest; 2023; digital scan (TIFF), from a Late Night Special (2021–present); courtesy of the artist

Jun. 16, 2025 Liste, Basel, Switzerland, presented by Shower; with Kyungtae Kim presented by Whistle

installation view; In the Living Room; 2025; Liste Art Fair Basel, Messe Basel, Hall 1.1, Booth 48, Basel, Switzerland; presented by Shower; with Kyungtae Kim (presented by Whistle); courtesy of Shower and Whistle; photo: Jinhyuk Oh

installation view; In the Living Room; 2025; Liste Art Fair Basel, Messe Basel, Hall 1.1, Booth 48, Basel, Switzerland; presented by Shower; courtesy of Shower and Whistle; photo: Jinhyuk Oh

Yonsok YI; 거울판 Kagami-ita; 2025; oil on black canvas; 73.5 × 91.5 × 5 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2501 (음악이 현악기 속에 있지 않듯이); 2025; oil and acrylic polymer on wood panel; 42.3 × 42.3 × 4.2 cm (×1), 35 × 35 × 4.2 cm (×1), 28 × 28 × 4.2 cm (×2), 21 × 21 × 4.2 cm (×2) (7 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2502 (우리는 새들의 발에서 서체를 훔쳤다); 2025; oil and acrylic polymer on wood panel; 35 × 35 × 4.2 cm (×1), 21 × 21 × 4.2 cm (×3), 14 × 14 × 4.2 cm (×3), 14 × 14 × 2.7 cm (×3) (10 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2503 (나르는 도둑들); 2025; oil, acrylic polymer and phosphorescent pigment on wood panel; 21 × 21 × 4.2 cm (×3), 14 × 14 × 4.2 cm (×2) (5 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2504 (나르는 도둑들); 2022, 2025; oil and acrylic polymer on wood panel; 35 × 35 × 4.2 cm (×1), 28 × 28 × 4.2 cm (×1), 21 × 21 × 4.2 cm (×1), 14 × 14 × 4.2 cm (×3) (6 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2505 (꿈은 글에서 태어나지 않았고); 2025; oil and acrylic polymer on wood panel; 42.3 × 42.3 × 4.2 cm (×1), 28 × 28 × 4.2 cm (×2), 14 × 14 × 4.2 cm (×1) (4 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2506 (이 세상에 동양은 없다); 2021, 2025; oil and acrylic polymer on wood panel; 42.3 × 42.3 × 4.2 cm; oil and acrylic polymer on canvas; 28 × 28 × 3 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2507 (중국의 새들); 2025; oil and acrylic polymer on wood panel; 42.3 × 42.3 × 4.2 cm each (2 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2508 (거짓말); 2021, 2025; oil and acrylic polymer on wood panel; 28 × 28 × 4.2 cm (×1), 14 × 14 × 2.7 cm (×1) (2 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2509; 2022, 2024; lime-based medium, oil, and blue ceramic pigment on wood panel; 21 × 21 × 2.7 cm (×1), 15 × 15 × 4.2 cm (×1) (2 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2510 (저녁에 이르기 위해서); 2022, 2025; oil and acrylic polymer on wood panel; 28 × 28 × 4.2 cm each (5 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2511 (저녁에 이르기 위해서); 2022, 2025; oil and acrylic polymer on wood panel; 28 × 28 × 4.2 cm each (5 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2512 (나르는 도둑들); 2023, 2025; oil, acrylic polymer, ceramic powder and phosphorescent pigment on wood panel; 14 × 14 × 4.2 cm (×1), 14 × 14 × 2.7 cm (×4); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2513 (나르는 도둑들); 2022, 2025; oil, acrylic polymer and phosphorescent pigment on wood panel; 28 × 28 × 4.2 cm (×1), 19.7 × 19.7 × 1.9 cm (×1), 14 × 14 × 2.7 cm (×2), 14 × 14 × 1.9 cm (×1) (5 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2514; 2025; oil and acrylic polymer on wood panel; 21 × 29.8 × 2.5 cm each (2 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; R2515 (Usurer); 2025; oil and acrylic polymer on wood panel; 18 × 25.8 × 2.6 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; The Blindness of Tobit; 2025; oil on paper, wood panel, brass nails, acrylic polymer; 27.5 × 22 × 2.7 cm each (2 panels); courtesy of the artist; photo: Joseph Lee

Yonsok YI; Tobias and the Angel; 2025; oil on black canvas, 30.3 × 30.3 × 4 cm (1 of 2); courtesy of the artist; photo: Joseph Lee

Yonsok YI; Tobias and the Angel; 2025; oil on black canvas, 30.3 × 30.3 × 4 cm (2 of 2); courtesy of the artist; photo: Joseph Lee

Yonsok YI; Tobias and the Angel (overpainted on Sfumato); 2025; oil on black canvas; 97 × 97 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Tobias and the Angel (overpainted on Hotel); 2025; oil on black canvas; 100.5 × 80 cm; courtesy of the artist; photo: Joseph Lee

Feb. 14, 2025 Shower, Seoul, Korea, two-person exhibition with Muyeong Kim, “Everyone Else Is Asleep”

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

Yonsok YI; Bathroom; 2025; oil, acrylic polymer, ceramic powder, and phosphorescent pigment on wood panel; variable dimensions; courtesy of the artist; photo: Joseph Lee

Yonsok YI; The Dog; 2022; oil and acrylic polymer on wood panel; 41 × 52.7 × 3 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; The Dog; 2022; oil and acrylic polymer on wood panel; 41 × 52.7 × 3 cm; detail; courtesy of the artist; photo: Joseph Lee

Yonsok YI; “Often, it is the surviving story which is decisively less important.”; 2025; oil on black canvas; 130.3 × 162 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; “Often, it is the surviving story which is decisively less important.”; 2025; oil on black canvas; 130.3 × 162 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; “Often, it is the surviving story which is decisively less important.”; 2025; oil on black canvas; 130.3 × 162 cm; detail; courtesy of the artist; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

Yonsok YI; Cream & Lotion; 2025; oil and acrylic polymer on wood panel; 10 × 10 × 2.5 cm (1 of 2); courtesy of the artist; photo: Joseph Lee

Yonsok YI; Cream & Lotion; 2025; oil and acrylic polymer on wood panel; 10 × 10 × 2.5 cm (2 of 2); courtesy of the artist; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

Yonsok YI; Mirror; 2025; oil on black canvas; 61 × 91.5 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Flying Thief; 2025; oil on black canvas; 25 × 25 cm (1 of 2); courtesy of the artist; photo: Joseph Lee

Yonsok YI; Flying Thief; 2025; oil on black canvas; 25 × 25 cm (2 of 2); courtesy of the artist; photo: Joseph Lee

Yonsok YI; Hotel; 2025; oil on black canvas; 100.5 × 80 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Flying Thief; 2025; oil on black canvas; 25 × 25 cm (1 of 2); courtesy of the artist; photo: Joseph Lee

Yonsok YI; Flying Thief; 2025; oil on black canvas; 25 × 25 cm (2 of 2); courtesy of the artist; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of Shower; photo: Joseph Lee

Yonsok YI; Picture Plane (The Richter Candle, sq); 2025; oil on black canvas; 20 × 20 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Picture Plane (The Richter Candle, tri); 2025; oil on black canvas; 41 × 40.2 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Clock; 2025; oil on black canvas, 31 × 30 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Easel; 2021; oil, copper powder, and acrylic polymer on corrugated polypropylene sheet; framed; 28 × 23 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Sfumato; 2025; oil on black canvas; 97 × 97 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; 사람 머리 새 Human-Faced Bird; 2017, 2025; oil on polyester canvas, wood panel, acrylic polymer, and brass nails; 30 × 30 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; 사람 머리 새 Human-Faced Bird; 2017, 2025; oil on polyester canvas, wood panel, acrylic polymer, and brass nails; 30 × 30 cm; courtesy of the artist; photo: Joseph Lee

installation view; Everyone Else Is Asleep; 2025; Shower, Seoul, Korea; courtesy of the artist; photo: Joseph Lee

Yonsok YI; G; 2025; oil on black canvas; 25 × 25 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Tantalus; 2025; oil on black canvas; 20 × 20 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Summary of a November Morning; 2025; oil on black canvas; 41.5 × 24.5 cm each (4 canvases); courtesy of the artist; photo: Joseph Lee

Jan. 3, 2025 Bio Gallery, Seoul, Korea, Yongjae Lee solo exhibition, “터 Teo”; collaborative participation, featuring works

installation view; 터 Teo; 2025; Bio Gallery, Seoul, Korea; courtesy of Bio Gallery

Yonsok YI; Object So Foreign; 2024; lime-based medium, oil, and blue ceramic pigment on wood panel; 15 × 15 × 4.2 cm; courtesy of the artist; photo: Bio Gallery

Dec. 20, 2024 Seoul National University Museum of Art, Seoul, Korea, group exhibition, “Lost and Found”; collaborative participation in Yongjae Lee’s installation, featuring works

Yongjae Lee & Yonsok YI, 여러 그림의 나열; installation view; Lost and Found, 2024; Seoul National University Museum of Art, Seoul, Korea; courtesy of the artists; photo: Ku and Park

Yonsok YI; Composition for Lee, 2024; from Relic series (2021, 2023); oil, acrylic polymer and phosphorescent pigment on wood panel, PVC; variable dimensions; courtesy of the artist; photo: Ku and Park

Aug. 31, 2024 The Preview Seongsu, Seoul, Korea, presented by Shower; with Yelim Ki, Simon Shim-Sutcliffe, Sean Jun Yeon

installation view; works by Simon Shim-Sutcliffe & Yonsok YI; courtesy of Shower

May. 10, 2024 YK Presents, Seoul, Korea, group exhibition, “2^4”; co-curated with Yongjae Lee; collaborative works with boma pak; with Jonghyun Park

Yonsok YI; Hyangsook holding a painting (Cartier); 2024; photograph digitally composited with Cartier logo; courtesy of the artist

Yonsok YI; Hyangsook holding a painting (Cartier); 2024; photograph digitally composited with Cartier logo; courtesy of the artist

Yonsok YI; Disloyalty Production Intro 5/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Hong Sohyun

boma pak; fldjf-Pre-Cartier-Crystals (leaning on Yi, Lee, Park); 2024; oil, oil pastel, marker, glitter powder, rhinestone, glue on black canvas; nail, digital image, QR code, digital print, yarn, adhesive tape, variable dimensions; courtesy of the artist; photo: Hong Sohyun

installation view; works by boma pak & Yonsok YI; courtesy of the artists; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 9/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Hong Sohyun

installation view; works by boma pak & Yonsok YI; courtesy of the artists; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 3/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

installation view; works by boma pak & Yonsok YI; courtesy of the artists; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 1/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 2/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 3/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 4/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 5/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 6/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 7/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 8/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Yonsok YI; Disloyalty Production Intro 9/9; 2024; oil on black canvas; 60 × 60 × 12 cm; courtesy of the artist; photo: Joseph Lee

Dec. 22, 2023 Shower, Seoul, Korea, event, “Goodnight”; as part of “New Years at Shower”; with Rosario Aninat & Simon Shim Sutcliffe, Moon Bae, Sunyou Bak, Kristoffer Cezinando Karlsen, Leesop Cho, Mads-Kristian Frøslev, Naomi Hawksley, Samuel Haitz, Yuki Iriyama Gray, Hyunjin Kim, Jesus Morales, Antonia Lia Orsi

⒞ Hong Shohyun, 2023.

⒞ Shower, 2023.

⒞ Shower, 2023.

Nov. 4, 2023 Shower, Seoul, Korea, Yonsok Yi solo exhibition, “Eyes Far Lips Act.2 Scene.2”; as part of “Eyes Far Lips Act.2”; featuring works by Muyeong Kim, C. H. Lee, Yongjae Lee

installation View; Eyes Far Lips Act.2 Scene.2 (as part of Eyes Far Lips Act.2); 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 유경하

installation View; Eyes Far Lips Act.2 Scene.2 (as part of Eyes Far Lips Act.2); 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 황아림

installation View; Eyes Far Lips Act.2 Scene.2 (as part of Eyes Far Lips Act.2); 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 황아림

installation View; Eyes Far Lips Act.2 Scene.2 (as part of Eyes Far Lips Act.2); 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 황아림

installation View; Eyes Far Lips Act.2 Scene.2 (as part of Eyes Far Lips Act.2); 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 황아림

Nov. 1, 2023 Pack, Seoul, Korea, curated by Jaemin Hwang; with Muyeong Kim, Hyunjin Kim, Yongjae Lee, Shampoo

Yonsok YI; 섬전암 Fulgurite; 2022; oil and acrylic polymer on wood panel; 14 × 14 × 2 cm; courtesy of the artist

Yonsok YI; 섬전암 Fulgurite; 2022; digital scan (TIFF), from a Late Night Special (2021–present); courtesy of the artist

Oct. 21, 22, 28, 29, 2023 Windmill, Seoul, Korea, concert, “Ambassadors”; with Hanjoo Kim, Kitty, Y2K92; as part of “Eyes Far Lips Act.2”

Ambassadors Oct. 21, 22 Y2K92 & Kitty
Ambassadors Oct. 28, 29 Hanjoo Kim & Kitty
Reciter Kitty
Voiceover Pagoda
A Featurette Muyeong Kim
Costume C. H. Lee
Anamorphosis Yongjae Lee
Sound Kkeugokigo
Video Junghun Ha
Photo uma shin
Text Jaemin Hwang
Production Shampoo
Scene.2 Shower
Supported by Seoul Foundation for Arts and Culture & Korea National University of Arts
Seoul Arts Awards 2023, Multidisciplinary Arts, Porsche Frontier Award, Seoul Foundation for Arts and Culture

⒞ Suginami Nohgakudo

⒞ Yonsok YI, 2023.

Yonsok YI; Ambassadors (as part of Eyes Far Lips Act.2); 2023; performance still, Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin