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

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



Oct. 20, 2023    Windmill, Seoul, Korea, Yonsok Yi solo exhibition, “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
Yonsok YI; Ambassadors (as part of Eyes Far Lips Act.2); 2023; performance still, Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; Muyeong Kim; a Featurette: Sfumato, 2022, 2023; text engraving on cowhide; each 210 × 170 mm; courtesy of the artists; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; Muyeong Kim; a Featurette: Tantalus, 2022, 2023; text engraving on cowhide; each 225 × 143 mm; courtesy of the artists; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; Muyeong Kim; a Featurette: Easel, 2022, 2023; text engraving on lambskin; each 230 × 162 mm; courtesy of the artists; photo: uma shin

Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin 
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; Yongjae Lee; The Ambassadors, 2023; oil on linen; each 25 × 25 cm courtesy of the artists; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; Yongjae Lee; Anamorphosis, 2023; oil on linen, approx. 150 × 140 cm; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Piano; 2022; oil and acrylic polymer on wood panel; 25 × 300 × 4 cm (triptych); courtesy of the artist; photo: Joseph Lee
Yonsok YI; Piano; 2022; oil and acrylic polymer on wood panel; 25 × 300 × 4 cm; detail; courtesy of the artist; photo: Joseph Lee
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; C. H. Lee; Ceremonial robe of rectangular construction; 2023; cotton poplin with silk organza interior bustle, presented on Siegel & Stock-man couture mannequin; courtesy of the artists; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; C. H. Lee; Ceremonial tunic in the form of a cross; 2023; wool, cotton, linen, interfaced in silk organza; approx. 240 × 240 cm; courtesy of the artists; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; Eyes Far Lips Act 2; 2023; Windmill, Seoul, Korea; Yongjae Lee; Anamorphosis, 2023; oil on linen, approx. 160 × 160 cm; courtesy of the artist; photo: uma shin
Yonsok YI; Ambassadors (as part of Eyes Far Lips Act.2); 2023; performance still, Windmill, Seoul, Korea; courtesy of the artist; photo: uma shin



Sep. 5, 2023    Our Week, Seoul, Korea, presented by Shower
⒞ Yonsok YI, 2023.



Jun. 17, 2023    Shower, Seoul, Korea, group exhibition, “Framer”; curated by Leesop Cho; with Leesop Cho, Taehoon Choi, Dahwan Ghim, Sueyon Hwang, Soojung Jung, Seungwoo Kang, Hyunwoo Lee, Jaegyun Lim, Boma Pak, Sungsil Ryu, Jeman Seo
Yonsok YI; installation view, Framer, 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 이의록
Yonsok YI; installation view, Framer, 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 이의록
Yonsok YI; installation view, Framer, 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 이의록
Yonsok YI; installation view, Framer, 2023; Shower, Seoul, Korea; courtesy of the artist; photo: 이의록



Jan. 7, 2023    YK Presents, Seoul, Korea, two-person exhibition with Yongjae Lee, “서쪽으로 넘어가는 일 Binary Sunset View”

exhibition catalogue, May 2023
Yonsok YI; Rose; 2022; oil and acrylic polymer on linoleum block; oil and soot on wood panel; variable dimensions; courtesy of the artist; photo: Joseph Lee
Yonsok YI & Yongjae Lee; 서쪽으로 넘어가는 일 Binary Sunset View, 2023; detail; courtesy of the artists; photo: Joseph Lee
Yonsok YI & Yongjae Lee; 서쪽으로 넘어가는 일 Binary Sunset View, 2023; installation view, YK Presents, Seoul, Korea; courtesy of the artists; photo: Joseph Lee
Yonsok YI & Yongjae Lee; 서쪽으로 넘어가는 일 Binary Sunset View, 2023; installation view, YK Presents, Seoul, Korea; courtesy of the artists; photo: Joseph Lee
Yonsok YI & Yongjae Lee; 서쪽으로 넘어가는 일 Binary Sunset View, 2023; installation view, YK Presents, Seoul, Korea; courtesy of the artists; photo: Joseph Lee
Yonsok YI & Yongjae Lee; 서쪽으로 넘어가는 일 Binary Sunset View, 2023; installation view, YK Presents, Seoul, Korea; courtesy of the artists; photo: Joseph Lee
Yonsok YI & Yongjae Lee; 서쪽으로 넘어가는 일 Binary Sunset View, 2023; installation view, YK Presents, Seoul, Korea; courtesy of the artists; photo: Joseph Lee
Yonsok YI; 운룡도 雲龍圖; 2022; oil on black canvas; 117 × 91 × 3 cm, 146 × 73 × 3 cm, 91 × 73 × 3 cm (triptych); courtesy of the artist; photo: Joseph Lee
Yonsok YI; 운룡도 雲龍圖; 2022; oil on black canvas; 91 × 73 × 3 cm (1 of 3); courtesy of the artist; photo: Joseph Lee
Yonsok YI; 운룡도 雲龍圖, 2022; oil on black canvas; 146 × 73 × 3 cm (2 of 3); courtesy of the artist; photo: Joseph Lee
Yonsok YI; 운룡도 雲龍圖, 2022; oil on black canvas; 117 × 91 × 3 cm (3 of 3); courtesy of the artist; photo: Joseph Lee
Yonsok YI; you will never learn “Only part of the left ear and eye survived.”; 2022; oil on black canvas; 54 × 73 × 5 cm; courtesy of the artist; photo: Joseph Lee
Yonsok YI; Tail; 2022; oil on wood; 4 × 4 × 30 cm; courtesy of the artist; photo: Joseph Lee
Yonsok YI & Yongjae Lee; 서쪽으로 넘어가는 일 Binary Sunset View;2023; courtesy of the artists; photo: Joseph Lee
Yonsok YI; Opened Colse; 2022; oil on black canvas; 33 × 53 × 2 cm; courtesy of the artist; photo: Joseph Lee
Yonsok YI; Closed Open; 2022; oil on black canvas; 101 × 81 × 5 cm; courtesy of the artist; photo: Joseph Lee
Yonsok YI; “Only part of the left ear and eye survived.”; 2022; oil on black canvas; 54 × 73 × 5 cm; courtesy of the artist; photo: Joseph Lee
Yonsok YI; 함 函, 2021/2022; oil on black canvas, oil on paper, oil on wood, variable dimensions; courtesy of the artist; photo: Joseph Lee
Yonsok YI; 섬전암 Fulgurite “벼락이 땅에 떨어질 때, 땅속의 모래 성분이 녹았다 다시 굳어지며 나뭇가지 모양의 줄기가 생기다.”; 2022; oil on wood; 13 × 13 × 2 cm; courtesy of the artist; photo: Joseph Lee
Yonsok YI; Century; 2022; oil on canvas, 20 × 20 × 6 cm (×2), 20 × 40 × 6 cm (×1); courtesy of the artist; photo: Joseph Lee
Yonsok YI; Tail; 2022; oil on wood, 4 × 8 × 30 cm; courtesy of the artist; photo: Joseph Lee
Yonsok YI; Century; 2022; oil on canvas, 20 × 20 × 6 cm (×2), 20 × 40 × 6 cm (×1); courtesy of the artist; photo: Joseph Lee
Yonsok YI; 섬전암 Fulgurite; 2022; digital scan (TIFF), from a Late Night Special (2021–present); courtesy of the artist
Yonsok YI & Yongjae Lee; Two frames for Two drawings from Missionary (by Yongjae Lee); 2022; multi-layered reflective glass and angled walnut; approx. the size and weight of a human head; produced for Eyes Far Lips, Whitenoise, Seoul; courtesy of the artists; photo: Joseph Lee



Oct. 21, 2022    White Noise, Seoul, Korea, Yonsok Yi solo exhibition, “눈 먼 입 Eyes Far Lips”; curated by Jungmin Cho

Featuring Works
Polyphonic Choral Sound    Hanjoo Kim
Thunder    Jiyoung Wi
Missionary    Yongjae Lee
Tensegrity    Gwansoo Shin
A Featurette    Muyeong Kim

Photo (day)    Haeyoung Kim
Photo (night)    uma shin
Video    Chang Younghae
Gaffer    Yoon Heo

전시 서문    조 정민
유리 이후    이 토명
시체를 위한 무대: 《눈 먼 입》에 관하여    황 재민

Production    Shampoo
Graphic Design    Jongmin Ahn
Assistants    Ghimgilly, Hyunjin Kim

Supported by Korea National University of Arts
Yonsok YI; Piano; 2022; oil and acrylic polymer on wood panel; 25 × 300 × 4 cm; triptych; courtesy of the artist; photo: Joseph Lee
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; Piano (panel 1 of 3); 2022; oil and acrylic polymer on wood panel; 25 × 100 × 4 cm; detail; courtesy of the artist; photo: uma shin
Yonsok YI; Piano (panel 2 of 3); 2022; oil and acrylic polymer on wood panel; 25 × 100 × 4 cm; detail; courtesy of the artist; photo: uma shin
Yonsok YI; Piano (panel 3 of 3); 2022; oil and acrylic polymer on wood panel; 25 × 100 × 4 cm; detail; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; Reading; 2021; digital scan (TIFF), from a Late Night Special (2021–present); courtesy of the artist
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; video still: Chang Younghae
Yonsok YI & Yongjae Lee; two frames for drawings by Yongjae Lee; 2022; multi-layered reflective glass and angled walnut; approx. the size and weight of a human head; produced for Eyes Far Lips; courtesy of the artists; photo: Yonsok YI
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin
Yonsok YI; 눈 먼 입 Eyes Far Lips; 2022; White Noise, Seoul, Korea; courtesy of the artist; photo: uma shin



Jun. 18, 2022    Mirrored Sphere, Seoul, Korea, two-person exhibition with Jihyoung Han, “Are We being Good, Ancestors?”
Yonsok YI; installation view, Are we being Good, Ancestors?, 2022; courtesy of the artist; photo: Ian Yang
Yonsok YI; Virgin and child with a pear; 2022; oil on black canvas, 100F; courtesy of the artist; photo: Ian Yang
Yonsok YI; An Old Woman; 2022; oil on black canvas, 100F; courtesy of the artist; photo: Ian Yang
Yonsok YI; Mother of Pearl; 2022; oil on black canvas, 100F; courtesy of the artist; photo: Ian Yang



Apr. 28, 2022    The Preview Seongsu, Seoul, Korea, presented by White Noise, with Gijeong Goo, Kai Oh, Rondi Park
Yonsok YI; installation view; courtesy of the artist; photo: White Noise



Dec. 10, 2021    Museumhead, Seoul, Korea, Muyeong Kim solo exhibition, “미간 위 집 House On Glabella”; collaborative participation, featuring works
Yonsok YI; Murmur (1 of 2); 2021; oil and acrylic polymer on wood panel; 270 x 270 x 27 mm; installation view, 미간 위 집 House On Glabella, 2021; Museumhead, Seoul, Korea; courtesy of the artist
Yonsok YI; Murmur (1 of 2); 2021; oil and acrylic polymer on wood panel; 270 x 270 x 27 mm; installation view, 미간 위 집 House On Glabella, 2021; Museumhead, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; Sun Gun; 2021; oil and acrylic polymer on wood panel; 530 x 410 x 27 mm; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; Sun Gun; 2021; oil and acrylic polymer on wood panel; 530 x 410 x 27 mm; installation view, 미간 위 집 House On Glabella, 2021; Museumhead, Seoul, Korea; courtesy of the artist;
Yonsok YI; Murmur (2 of 2); 2021; oil and acrylic polymer on wood panel, 305 x 152 x 50 mm; installation view, 미간 위 집 House On Glabella, 2021; Museumhead, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; Murmur (2 of 2); 2021; oil and acrylic polymer on wood panel, 305 x 152 x 50 mm; courtesy of the artist
Yonsok YI; (old)Vessel; 2021; oil and acrylic polymer on wood panel; 530 x 410 x 27 mm; installation view, 미간 위 집 House On Glabella, 2021; Museumhead, Seoul, Korea; courtesy of the artist; photo: Haeyoung Kim
Yonsok YI; (old)Vessel; 2021; oil and acrylic polymer on wood panel; 530 x 410 x 27 mm; courtesy of the artist; photo: Haeyoung Kim



Dec. 10, 2021    Perform Collection System, online, performance by Muyeong Kim, “Nimbus”; collaborative participation, featuring works
⒞ Perform Collection System, 2021.
Yonsok YI; A towering tree falls in the forest, just grazing their head; 2021; reference painting, scanned; courtesy of the artist
Yonsok YI; “So, Annie, are you okay? Are you okay, Annie?”; 2021; reference painting, scanned; courtesy of the artist



 a Late Night Special (2021–present)


Yonsok YI, A Late Night Special, 2021–present, digital scan
⒞ Yonsok YI, 2017.
Yonsok YI; Thunder; 2021; digital scan (TIFF), from a Late Night Special (2021–present); courtesy of the artist



May. 25, 2021    Figure Ground, Seoul, Korea, research presentation, “I solemnly swear I am up to no good”; invited by Chang Younghae
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print on tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print on tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print on tracing paper; installed on a glass window with brass nails and translucent tape; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print on paper and tracing paper; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print on tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print on tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist
Yonsok YI; I solemnly swear I am up to no good; 2021; laser print and drawing on paper and tracing paper; installed on a glass window using order racks; courtesy of the artist



Jan. 17, 2020    Weekend, Seoul, Korea, two-person exhibition with Jaeho Park, “Vera Verto”; curated by Nahyun Kim, Jenny Cho
Yonsok YI; installation view; Vera Verto, 2020; Weekend, Seoul, Korea; courtesy of the artist; photo: Hansol Bae
Yonsok YI; installation view; Vera Verto, 2020; Weekend, Seoul, Korea; courtesy of the artist; photo: Hansol Bae
Yonsok YI; installation view; Vera Verto, 2020; Weekend, Seoul, Korea; courtesy of the artist; photo: Hansol Bae
Yonsok YI; installation view; Vera Verto, 2020; Weekend, Seoul, Korea; courtesy of the artist; photo: Hansol Bae
Yonsok YI; “No. It’s an Asscher. Look at the corners.”; 2019; Korea National University of Arts, Seoul, Korea; courtesy of the artist; photo: Jipil Jung
Cormac_McCarthy,_THE_COUNSELOR,_p12–13,_Picador,_2013
Cormac_McCarthy,_THE_COUNSELOR,_p14–15,_Picador,_2013
Cormac_McCarthy,_THE_COUNSELOR,_p16–17,_Picador,_2013
Cormac_McCarthy,_THE_COUNSELOR,_p18–19,_Picador,_2013
Cormac_McCarthy,_THE_COUNSELOR,_p20–21,_Picador,_2013
Yonsok YI; “En este mundo nada es perfecto. As my father would say.”; 2019; oil on canvas; 145 × 258.9 cm; with “The culet seems big.”; 2019; oil on canvas; 30 × 30 cm; “The crown and pavilion don’t fit.”; 2019; oil on canvas; 54.2 × 34.2 cm; “The girdle comes out crooked.”; 2019; oil on canvas; 30 × 30 cm; installation view, Vera Verto, 2020; Weekend, Seoul, Korea; courtesy of the artist; photo: Hansol Bae